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", "Dedication" : "Gift of Mr. and Mrs. James Sibley Watson", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Metalwork", "Creation_Place2" : "French", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/26.44_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/26.44_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/26.44_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/26.44_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "16983", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 5204, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5204", "Disp_Access_No" : "1958.3", "_AccNumSort1" : "", "Disp_Create_DT" : "1926", "_Disp_Start_Dat" : "1926", "_Disp_End_Date" : "1926", "Disp_Title" : "Reunion (Wiedersehen)", "Alt_Title" : "Meeting Again", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Ernst Barlach", "Sort_Artist" : "Barlach, Ernst", "Disp_Dimen" : "19 in. (48.3 cm)", "Disp_Height" : "19 in.", "Disp_Width" : "", "Dimen_Extent" : "", "Medium" : "Bronze", "Support" : "", "Disp_Medium" : "Bronze (one of six casts)", "Info_Page_Comm" : "", "Dedication" : "R. T. Miller Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "German", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/58.3_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/58.3_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/58.3_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/58.3_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "37409", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 897, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/897", "Disp_Access_No" : "1986.5", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1918", "_Disp_Start_Dat" : "1913", "_Disp_End_Date" : "1923", "Disp_Title" : "Abraham Lincoln", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "George Grey Barnard", "Sort_Artist" : "Barnard, George Grey", "Disp_Dimen" : "21 x 11 7/8 x 14 7/16 in. (53.3 x 30.2 x 36.7 cm)", "Disp_Height" : "21 in.", "Disp_Width" : "11 7/8 in.", "Dimen_Extent" : "overall", "Medium" : "Marble", "Support" : "", "Disp_Medium" : "Marble", "Info_Page_Comm" : "", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/86.5_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/86.5_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/86.5_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/86.5_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12504", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "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" : 1222, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1222", "Disp_Access_No" : "1975.164", "_AccNumSort1" : "", "Disp_Create_DT" : "1967", "_Disp_Start_Dat" : "1967", "_Disp_End_Date" : "1967", "Disp_Title" : "Ten Pound Hammer", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Thomas Hart Benton", "Sort_Artist" : "Benton, Thomas Hart", "Disp_Dimen" : "13 3/4 x 9 5/8 in. (34.9 x 24.4 cm)", "Disp_Height" : "13 3/4 in.", "Disp_Width" : "9 5/8 in.", "Dimen_Extent" : "", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "In <em>Ten Pound Hammer</em>, Thomas Hart Benton explored the machine’s relationship to man and labor in an “old story of my youth – before the steam hammer beat out John Henry.” According to the American folk legend, John Henry was a heroic African-American man and the greatest steel driver in the late-1900s westward expansion of the railroad. In the story, when the railroad owner brought in a steam-powered hammer, John Henry offered to compete against the machine to save his and his men’s jobs. Although he won the race, John Henry died in victory. The legend of John Henry, which may be based in historical events, grew in popular stories and songs as an allegory of the threat of modernization and the umanning of American labor. [label text for <em>Modern Icon: The Machine As Subject in American Art</em> exhibition, February 3 – March 6, 2012] ", "Dedication" : "The Charles Rand Penney Collection of the Memorial Art Gallery", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.164_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.164_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.164_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.164_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "37657", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3006, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3006", "Disp_Access_No" : "1977.153", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1926-1928", "_Disp_Start_Dat" : "1926", "_Disp_End_Date" : "1928", "Disp_Title" : "Threshing", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Thomas Hart Benton", "Sort_Artist" : "Benton, Thomas Hart", "Disp_Dimen" : "9 x 12 in. (22.9 x 30.5 cm)", "Disp_Height" : "9 in.", "Disp_Width" : "12 in.", "Dimen_Extent" : "", "Medium" : "Graphite", "Support" : "paper", "Disp_Medium" : "Graphite, ink and watercolor ", "Info_Page_Comm" : "Most artists interested in depicting machine subjects looked to the city for inspiration. Thomas Hart Benton’s Regionalist vision looked to the rural areas of middle America for subject matter. In this drawing, Benton illustrates how an engine-powered threshing machine was fundamentally changing agricultural labor. Thomas Hart Benton was less interested in the physicality of the actual machine and more interested in the ways in which machines impacted the lives and labors of man. [label text for <em>Modern Icon: The Machine As Subject in American Art</em> exhibition, February 3 – March 6, 2012]", "Dedication" : "Gift of Mr. and Mrs. Solomon K. Gross", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Drawing", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/77.153_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/77.153_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/77.153_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/77.153_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "37629", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "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" : 12647, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/12647", "Disp_Access_No" : "2004.13", "_AccNumSort1" : "", "Disp_Create_DT" : "1986", "_Disp_Start_Dat" : "1986", "_Disp_End_Date" : "1986", "Disp_Title" : "Monument", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Christian Boltanski", "Sort_Artist" : "Boltanski, Christian", "Disp_Dimen" : "77 x 59 in. (195.6 x 149.9 cm)", "Disp_Height" : "77 in.", "Disp_Width" : "59 in.", "Dimen_Extent" : "overall", "Medium" : "", "Support" : "", "Disp_Medium" : "Photographs, light bulbs, electrical cord", "Info_Page_Comm" : "The faces of the children included in Christian Boltanski’s Monument seem eerily familiar. While the scale of this piece and the arrangement of the images is reminiscent of a memorial, these same eyes could peer out at us from photo albums or yearbooks; faces of individuals who are still alive but no longer young. Boltanski, who is fascinated with the suggestive power of imagery and the role of memory in shaping our relationship with his work, has said, “What drives me as an artist is that I think everyone is so unique, yet everyone disappears so quickly.” [Hawks Gallery reinstallation, summer 2019]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Mixed Media", "Creation_Place2" : "French", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2004.13_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2004.13_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2004.13_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2004.13_A1.jpg", "IsPrimary" : "0", "_SurrogateID" : "21626", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2004.13_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2004.13_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2004.13_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2004.13_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "53277", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "On Andy''s disk labelled MAG190912. Strip of molding was left in at bottom of photo because of electrical cord that hangs down from the piece.", "View" : "" } , ] },{ "embark_ID" : 4953, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4953", "Disp_Access_No" : "1991.36", "_AccNumSort1" : "", "Disp_Create_DT" : "1909", "_Disp_Start_Dat" : "1909", "_Disp_End_Date" : "1909", "Disp_Title" : "The Linen", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Pierre Bonnard", "Sort_Artist" : "Bonnard, Pierre", "Disp_Dimen" : "19 5/8 x 25 1/2 in. (49.8 x 64.8 cm)", "Disp_Height" : "19 5/8 in.", "Disp_Width" : "25 1/2 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "paper", "Disp_Medium" : "Oil on paper laid down on board", "Info_Page_Comm" : "As an art student in Paris, Bonnard became affiliated with the Nabis, or Prophets. This group of young artists was influenced by Paul Gauguin's belief that a painting should be a product of the imagination rather than a mere copy of nature. Influenced also by Gauguin's style, the Nabis simplified form and used color boldly and expressively. After the turn of the century, Bonnard refined these principles, developing a personal, decorative, and highly subjective style. As in this scene, his pictures of everyday life often featured his wife. Painting from memory in his studio, Bonnard freely modified form and heightened color to express the beauty he recalled in nature. [Gallery label text, 1999]", "Dedication" : "Gift of Marie C. and Joseph C. Wilson", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "French", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/91.36_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/91.36_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/91.36_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/91.36_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "26159", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4955, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4955", "Disp_Access_No" : "1973.1", "_AccNumSort1" : "", "Disp_Create_DT" : "1902", "_Disp_Start_Dat" : "1902", "_Disp_End_Date" : "1902", "Disp_Title" : "Young Priestess", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "William-Adolphe Bouguereau", "Sort_Artist" : "Bouguereau, William-Adolphe", "Disp_Dimen" : "71 1/4 x 32 in. (181 x 81.3 cm)", "Disp_Height" : "71 1/4 in.", "Disp_Width" : "32 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Bouguereau's idealized figures, with their realistically-rendered surfaces and painstaking level of finish, show a technical mastery that still astonishes. Here the fluid fabrics of the priestess's garments and the drapery behind her contrast sharply with her pale flesh and the stone mosaic of the floor. The lack of context invites viewers to provide the figure with a narrative. This painting, completed when the artist was almost 80, demonstrates a return to the themes of classical antiquity that had been mainstays of his youthful work. Bouguereau had a typical Academic education: he studied anatomy, classical literature and archaeology along with drawing and painting, and spent a year in Rome where he took inspiration from Renaissance artists. A member of the Academy throughout his career, his paintings were regularly included in the annual Salon exhibitions. [Gallery label text, 2011]", "Dedication" : "Gift of Paul T. White in memory of Josephine Kryl White", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "French", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/73.1_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/73.1_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/73.1_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/73.1_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "18213", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Museum Print Editions scan purchased by Gallery Store for production purposes", "View" : "" } , ] },{ "embark_ID" : 5207, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5207", "Disp_Access_No" : "1977.112", "_AccNumSort1" : "", "Disp_Create_DT" : "1908", "_Disp_Start_Dat" : "1908", "_Disp_End_Date" : "1908", "Disp_Title" : "Ève", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Antoine Bourdelle", "Sort_Artist" : "Bourdelle, Antoine", "Disp_Dimen" : "11 3/8 x 4 3/4 in. (28.9 x 12.1 cm)", "Disp_Height" : "11 3/8 in.", "Disp_Width" : "4 3/4 in.", "Dimen_Extent" : "", "Medium" : "Bronze", "Support" : "", "Disp_Medium" : "Bronze", "Info_Page_Comm" : "", "Dedication" : "Gift of Dr. and Mrs. Harold Stopp", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "French", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/77.112_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/77.112_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/77.112_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/77.112_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "37418", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/77.112_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/77.112_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/77.112_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/77.112_A3.jpg", "IsPrimary" : "0", "_SurrogateID" : "37419", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/77.112_A4.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/77.112_A4.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/77.112_A4.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/77.112_A4.jpg", "IsPrimary" : "0", "_SurrogateID" : "37420", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 5208, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5208", "Disp_Access_No" : "1954.12", "_AccNumSort1" : "", "Disp_Create_DT" : "1913", "_Disp_Start_Dat" : "1913", "_Disp_End_Date" : "1913", "Disp_Title" : "Still Life with Pipe (Nature morte à la Pipe)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Georges Braque", "Sort_Artist" : "Braque, Georges", "Disp_Dimen" : "16 x 13 in. (40.6 x 33 cm)", "Disp_Height" : "16 in.", "Disp_Width" : "13 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "French", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/54.12_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/54.12_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/54.12_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/54.12_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "38867", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Photographed in situ as installed; frame cropped out in Photoshop.", "View" : "" } , ] },{ "embark_ID" : 12049, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/12049", "Disp_Access_No" : "2003.108", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1958", "_Disp_Start_Dat" : "1953", "_Disp_End_Date" : "1963", "Disp_Title" : "Crescent-shaped Vase", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Sascha Brastoff", "Sort_Artist" : "Brastoff, Sascha", "Disp_Dimen" : "7 1/4 x 5 1/4 x 3 5/16 in. (18.4 x 13.3 x 8.4 cm)", "Disp_Height" : "7 1/4 in.", "Disp_Width" : "5 1/4 in.", "Dimen_Extent" : "overall", "Medium" : "Ceramic", "Support" : "", "Disp_Medium" : "Ceramic", "Info_Page_Comm" : "", "Dedication" : "Gift of Ron Kransler", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Ceramics", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "1.13.12 Per Marjorie Searl, title changed from bowl/vase to Crescent-shaped Vase, and date changed to circa 1958. Possibility that this mold #F221 was used to make this piece. See similar piece at http://billyblueeye.com/. ", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2003.108_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2003.108_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2003.108_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2003.108_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "31696", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2003.108_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2003.108_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2003.108_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2003.108_A2.jpg", "IsPrimary" : "0", "_SurrogateID" : "31697", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3568, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3568", "Disp_Access_No" : "1947.105", "_AccNumSort1" : "", "Disp_Create_DT" : "1935", "_Disp_Start_Dat" : "1935", "_Disp_End_Date" : "1935", "Disp_Title" : "Telegraph Pole", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Charles Ephraim Burchfield", "Sort_Artist" : "Burchfield, Charles Ephraim", "Disp_Dimen" : "23 3/8 x 20 7/8 in. (59.4 x 53 cm)", "Disp_Height" : "23 3/8 in.", "Disp_Width" : "20 7/8 in.", "Dimen_Extent" : "sheet", "Medium" : "Watercolor", "Support" : "paper", "Disp_Medium" : "Watercolor, charcoal and graphite", "Info_Page_Comm" : "As a symbol of American invention and progress, the telegraph pole and its wires frame a depressing landscape. The curved pole, clearly a tree cut down and stripped of its bark and limbs, is a powerful metaphor for the abuse that man and nature experience under the unstoppable momentum of industry. Railroad tracks lined by austere workers’ huts lead the viewer’s eyes back to an industrial inferno. Buffalo artist Charles Burchfield felt a great deal of reverence for the natural world. His nuanced depictions of the industrial landscape were indictments of environmental abuse. [label text for <em>Modern Icon: The Machine As Subject in American Art</em> exhibition, February 3 – March 6, 2012] ", "Dedication" : "Gift of Mrs. Charles H. Babcock", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Watercolor", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "This was part of Lending LIbrary of American Art at MAG as per a Gallery Notes article in 1941. How did it get Mrs. Babcock in credit line-- did she purchase from them and give to MAG later?", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/47.105_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/47.105_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/47.105_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/47.105_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "33650", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "converted from Seeing America CMYK image for web use", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/47.105_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/47.105_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/47.105_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/47.105_A3.jpg", "IsPrimary" : "1", "_SurrogateID" : "39114", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 920, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/920", "Disp_Access_No" : "1955.12a-c", "_AccNumSort1" : "", "Disp_Create_DT" : "1955", "_Disp_Start_Dat" : "1955", "_Disp_End_Date" : "1955", "Disp_Title" : "The Bronze "S"", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Alexander Calder", "Sort_Artist" : "Calder, Alexander", "Disp_Dimen" : "11 x 19 1/2 x 9 in. (27.9 x 49.5 x 22.9 cm)", "Disp_Height" : "11 in.", "Disp_Width" : "19 1/2 in.", "Dimen_Extent" : "", "Medium" : "Bronze", "Support" : "metal", "Disp_Medium" : "Bronze, steel, aluminum and paint", "Info_Page_Comm" : "", "Dedication" : "R. T. Miller Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/55.12a-c_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/55.12a-c_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/55.12a-c_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/55.12a-c_A1.jpg", "IsPrimary" : "0", "_SurrogateID" : "17142", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1400, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1400", "Disp_Access_No" : "1965.1", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1964", "_Disp_Start_Dat" : "1959", "_Disp_End_Date" : "1969", "Disp_Title" : "Untitled", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Alexander Calder", "Sort_Artist" : "Calder, Alexander", "Disp_Dimen" : "19 5/8 x 25 1/2 in. (49.8 x 64.8 cm)", "Disp_Height" : "19 5/8 in.", "Disp_Width" : "25 1/2 in.", "Dimen_Extent" : "", "Medium" : "Printer''s ink", "Support" : "wove paper", "Disp_Medium" : "Color lithograph", "Info_Page_Comm" : "", "Dedication" : "General Acquisition Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "January 11, 2012: Marjorie Searl, chief curator, added a date to the record, ''ca. 1964'', as this work relates to the type of prints that Calder was making at this period. However, further research is needed to establish both a title and a more accurate date.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/65.1_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/65.1_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/65.1_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/65.1_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "37617", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 926, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/926", "Disp_Access_No" : "1988.1", "_AccNumSort1" : "", "Disp_Create_DT" : "1984", "_Disp_Start_Dat" : "1984", "_Disp_End_Date" : "1984", "Disp_Title" : "Dr. Caligari", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Wendell Castle", "Sort_Artist" : "Castle, Wendell", "Disp_Dimen" : "92 1/2 x 31 1/2 x 26 1/2 in. (235 x 80 x 67.3 cm)", "Disp_Height" : "92 1/2 in.", "Disp_Width" : "31 1/2 in.", "Dimen_Extent" : "overall", "Medium" : "Curly cherry veneer, ebony and gold-plated brass", "Support" : "", "Disp_Medium" : "Curly cherry veneer, ebony and gold-plated brass", "Info_Page_Comm" : "Dr. Caligari is among a series of thirteen clocks that Wendell Castle created in the 1980s. He made them at the suggestion of his dealer, who urged him to create a body of work that would challenge the critics’ association of Castle with functional furniture. Castle was particularly interested in the concept of time, and Dr. Caligari is a fanciful exploration of time travel. Its tall case is rich with connections to traditional grandfather clocks. It suggests either a trip to the past in an ancient obelisk, or to the future, in a rocket ship. The title of the work was inspired by the angular set design of the 1920 German Expressionist film, The Cabinet of Dr. Caligari. The clock’s painted interior was intended to suggest the silent horror film’s unsettling mood. Castle and his longtime associate Don Sottile developed a smearing technique using India ink over gesso that gave the painted finish its distinctive feathered edges. [Summer 2015]", "Dedication" : "Given in honor of Joan M. Vanden Brul by her family", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/88.1_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/88.1_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/88.1_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/88.1_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "38877", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Scanned from transparency, clock silhouetted out from background by Andy Olenick", "View" : "" } , ] },{ "embark_ID" : 22581, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/22581", "Disp_Access_No" : "2010.7", "_AccNumSort1" : "", "Disp_Create_DT" : "1964", "_Disp_Start_Dat" : "1964", "_Disp_End_Date" : "1964", "Disp_Title" : "Music Rack", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Wendell Castle", "Sort_Artist" : "Castle, Wendell", "Disp_Dimen" : "53 1/2 x 26 x 20 in. (135.9 x 66 x 50.8 cm)", "Disp_Height" : "53 1/2 in.", "Disp_Width" : "26 in.", "Dimen_Extent" : "overall", "Medium" : "Oak", "Support" : "", "Disp_Medium" : "Oak and Brazilian rosewood", "Info_Page_Comm" : "The elegant tapered lines of Music Rack reflect the influence of renowned Pennsylvania artist-craftsman Wharton Esherick, whose work Castle credits with teaching him “that the making of furniture could be a form of sculpture.” Using bentwood lamination as a technique, Castle was able to create the “gentle, but regular organic curve” of the sculpture, whose central trunk mimics “a supple, bent sapling.” Music Rack was the first of Castle’s works to receive international attention. Not only was it included in an important design exhibition in Milan, but a review of the show in Time magazine featured a color image of it. All twelve versions of the original edition sold quickly, several to museum collections including the American Craft Museum. This work is now considered one of Castle’s most iconic. For over forty years the music rack was owned by Temple B’rith Kodesh in Brighton. The congregation offered it for sale to the MAG to ensure that it would be properly taken care of for generations to come. [Summer 2015]", "Dedication" : "Given in honor of Marion J. Hawks by her family, by exchange", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Furniture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2010.7_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2010.7_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2010.7_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2010.7_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "39460", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2605, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2605", "Disp_Access_No" : "1972.64", "_AccNumSort1" : "", "Disp_Create_DT" : "1972", "_Disp_Start_Dat" : "1972", "_Disp_End_Date" : "1972", "Disp_Title" : "Suggestion Box", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Wendell Castle", "Sort_Artist" : "Castle, Wendell", "Disp_Dimen" : "41 1/2 x 28 1/2 x 29 in. (105.4 x 72.4 x 73.7 cm)", "Disp_Height" : "41 1/2 in.", "Disp_Width" : "28 1/2 in.", "Dimen_Extent" : "", "Medium" : "Walnut", "Support" : "", "Disp_Medium" : "Walnut", "Info_Page_Comm" : "Visitors to the Memorial Art Gallery have been using this suggestion box for over thirty years, depositing comments in the oval slot on the top, which are read and acted upon regularly. In addition to having a place to leave messages, Suggestion Box is also a favorite stop on many Gallery tours. At last, a piece visitors are allowed to touch! Visual appreciation of the polished surfaces and the sleek animal-like leg can be reinforced tacitly by running hands over the entire piece. [Gallery label text]", "Dedication" : "Art Service Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Furniture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Children" : [ { "Rel_Obj_ID" : "3060", "Rel_Obj_Title" : "Drawing for Suggestion Box" } ], "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/72.64a_A4.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/72.64a_A4.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/72.64a_A4.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/72.64a_A4.jpg", "IsPrimary" : "1", "_SurrogateID" : "40609", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 925, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/925", "Disp_Access_No" : "1978.58", "_AccNumSort1" : "", "Disp_Create_DT" : "1978", "_Disp_Start_Dat" : "1978", "_Disp_End_Date" : "1978", "Disp_Title" : "Table with Tablecloth", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Wendell Castle", "Sort_Artist" : "Castle, Wendell", "Disp_Dimen" : "32 1/2 x 23 x 21 3/4 in. (82.6 x 58.4 x 55.2 cm)", "Disp_Height" : "32 1/2 in.", "Disp_Width" : "23 in.", "Dimen_Extent" : "", "Medium" : "Mahogany", "Support" : "", "Disp_Medium" : "Mahogany", "Info_Page_Comm" : "Wendell Castle’s art delights and surprises us, and this example is no exception. As if made for a topsy-turvy world, the stick-figure chair stands on a tromp-l’oeil (French for “fool the eye”) pillow that seems to be soft and filled with feathers. At the same time, we can see the wood’s grain and joints and know that it is a hard surface. Wendell Castle is an internationally acclaimed artist who is based in nearby Scottsville, New York. In his more than fifty-year career, he has continued to explore the possibilities inherent in the medium of wood, and to expand the conceptual realities that can be expressed with it. [Summer 2015]", "Dedication" : "General Acquisitions Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/78.58_A5.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/78.58_A5.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/78.58_A5.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/78.58_A5.jpg", "IsPrimary" : "1", "_SurrogateID" : "43981", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 10533, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/10533", "Disp_Access_No" : "2002.2", "_AccNumSort1" : "", "Disp_Create_DT" : "1966", "_Disp_Start_Dat" : "1966", "_Disp_End_Date" : "1966", "Disp_Title" : "Two-seat Bench", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Wendell Castle", "Sort_Artist" : "Castle, Wendell", "Disp_Dimen" : "28 5/8 x 54 3/8 x 22 in. (72.7 x 138.1 x 55.9 cm)", "Disp_Height" : "28 5/8 in.", "Disp_Width" : "54 3/8 in.", "Dimen_Extent" : "overall", "Medium" : "Oak", "Support" : "", "Disp_Medium" : "Stack laminated oak", "Info_Page_Comm" : "The MAG’s benches by Wendell Castle are the rare artworks in the museum that visitors are encouraged to touch. Run your hands along the smooth wood and sit down to contemplate other works nearby or just to rest. This bench was originally part of a dining room suite commissioned by the Baker family of Rochester. The artist used a technique called stack lamination, in which planks of wood are stacked and glued together, then carved and joined to create the final form. [Summer 2015]", "Dedication" : "Maurice R. and Maxine B. Forman Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Furniture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2002.2_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2002.2_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2002.2_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2002.2_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "15912", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 5209, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5209", "Disp_Access_No" : "1964.47", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1923", "_Disp_Start_Dat" : "1918", "_Disp_End_Date" : "1928", "Disp_Title" : "Florentine Still Life (Balcone a Firenze)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Giorgio de Chirico", "Sort_Artist" : "Chirico, Giorgio de", "Disp_Dimen" : "18 3/4 x 25 in. (47.6 x 63.5 cm)", "Disp_Height" : "18 3/4 in.", "Disp_Width" : "25 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Gift of Helen C. Ellwanger in memory of Gertrude Newell", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "Italian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/64.47_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/64.47_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/64.47_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/64.47_A3.jpg", "IsPrimary" : "1", "_SurrogateID" : "35470", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Scanned from Jim Via transparency 12/10 KSchauber.", "View" : "" } , ] },{ "embark_ID" : 4152, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4152", "Disp_Access_No" : "1999.42", "_AccNumSort1" : "", "Disp_Create_DT" : "1993", "_Disp_Start_Dat" : "1993", "_Disp_End_Date" : "1993", "Disp_Title" : "Critical Doubt", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Tarrant Clements", "Sort_Artist" : "Clements, Tarrant", "Disp_Dimen" : "26 x 16 x 10 in. (66 x 40.6 x 25.4 cm)", "Disp_Height" : "26 in.", "Disp_Width" : "16 in.", "Dimen_Extent" : "overall", "Medium" : "Bronze", "Support" : "", "Disp_Medium" : "Bronze", "Info_Page_Comm" : "According to the artist, the piece begins by being directly worked in wax, and then cast with the help of bronze sculptor Dexter Benedict in Penn Yan, New York. Clements then patinates the piece. Parts of the work are molded from carved pieces. Within the piece, some elements come from parts of other sculptures reassembled in a different way. She has a storehouse of vocabulary of elements that are generated through other pieces. Her influences are African tribal cultures. [Gallery label text]", "Dedication" : "Gift of Anne Havens in loving memory of her son, Bill Havens", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/99.42_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/99.42_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/99.42_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/99.42_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "16947", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3874, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3874", "Disp_Access_No" : "1998.63", "_AccNumSort1" : "", "Disp_Create_DT" : "1986", "_Disp_Start_Dat" : "1986", "_Disp_End_Date" : "1986", "Disp_Title" : "Leslie", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Chuck Close", "Sort_Artist" : "Close, Chuck", "Disp_Dimen" : "31 3/8 x 25 1/4 in. 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(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. Sibley", "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/26.20_R1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/26.20_R1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/26.20_R1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/26.20_R1.jpg", "IsPrimary" : "0", "_SurrogateID" : "17256", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "contemporary photography of scene", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/26.20_R2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/26.20_R2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/26.20_R2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/26.20_R2.jpg", "IsPrimary" : "0", "_SurrogateID" : "17257", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "contemporary photography of scene", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/26.20_R3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/26.20_R3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/26.20_R3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/26.20_R3.jpg", "IsPrimary" : "0", "_SurrogateID" : "17258", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "contemporary photography of scene", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/26.20_R4.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/26.20_R4.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/26.20_R4.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/26.20_R4.jpg", "IsPrimary" : "0", "_SurrogateID" : "17259", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "contemporary photography of scene", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/26.20_R5.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/26.20_R5.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/26.20_R5.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/26.20_R5.jpg", "IsPrimary" : "0", "_SurrogateID" : "17260", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "contemporary photography of scene", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/26.20_R6.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/26.20_R6.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/26.20_R6.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/26.20_R6.jpg", "IsPrimary" : "0", "_SurrogateID" : "17261", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "contemporary photography of scene", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/26.20_R7.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/26.20_R7.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/26.20_R7.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/26.20_R7.jpg", "IsPrimary" : "0", "_SurrogateID" : "17262", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "contemporary photography of scene", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/26.20_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/26.20_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/26.20_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/26.20_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39020", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Derived from 26.20_M1, which had no print master-- print and access images derived 8/30/12", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/26.20_R8.pdf", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/26.20_R8.pdf", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/26.20_R8.pdf", "IIIF_URL": "http://iiif.gallerysystems.com/26.20_R8.pdf", "IsPrimary" : "0", "_SurrogateID" : "36573", "Image_Type" : "pdf file", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3887, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3887", "Disp_Access_No" : "1998.77", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1950", "_Disp_Start_Dat" : "1945", "_Disp_End_Date" : "1955", "Disp_Title" : "The Admiral's Game", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Joseph Cornell", "Sort_Artist" : "Cornell, Joseph", "Disp_Dimen" : "12 x 18 x 4 in. (30.5 x 45.7 x 10.2 cm)", "Disp_Height" : "12 in.", "Disp_Width" : "18 in.", "Dimen_Extent" : "overall", "Medium" : "Mixed media", "Support" : "", "Disp_Medium" : "Mixed media", "Info_Page_Comm" : "Romantic and enigmatic, Joseph Cornell’s boxes are filled with fragments of found materials. In The Admiral’s Game, the parallel rods that hold a pair of white balls might suggest a playful arcade game or the timeless and profound idea of an all-powerful creator setting the planets in motion. Cornell made his highly symbolic and mysterious creations at the home that he shared with his mother and brother in Queens, New York. While Cornell was reclusive and essentially an outsider in the art world, his work influenced many important American artists, including Robert Rauschenberg, Jasper Johns, Andy Warhol, and Marcel Duchamp. [Summer 2015]", "Dedication" : "Maurice R. and Maxine B. Forman Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/98.77_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/98.77_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/98.77_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/98.77_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "38880", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1502, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1502", "Disp_Access_No" : "1983.9", "_AccNumSort1" : "", "Disp_Create_DT" : "1952", "_Disp_Start_Dat" : "1952", "_Disp_End_Date" : "1952", "Disp_Title" : "Third Avenue Elevated #4", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Ralston Crawford", "Sort_Artist" : "Crawford, Ralston", "Disp_Dimen" : "19 13/16 x 12 7/8 in. (50.3 x 32.7 cm)", "Disp_Height" : "19 13/16 in.", "Disp_Width" : "12 7/8 in.", "Dimen_Extent" : "", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Color Lithograph", "Info_Page_Comm" : "Ralston Crawford believed that the “emancipation of the times” would be attained through industrialization. His earlier Precisionist style and his ongoing preoccupation with industry, the machine, and speed can be seen in his painting <a href=”http://magart.rochester.edu/Obj296”><em>Whitestone Bridge</em></a>, 1939-40, in the Memorial Art Galley collection (accession number 51.2). By the time he created this print, <em>Third Avenue El #4</em>, Crawford’s style had become significantly more abstract. Here he captures the ubiquitous vertical steel pylons that support elevated train tracks throughout New York City neighborhoods. [label text for <em>Modern Icon: The Machine As Subject in American Art</em> exhibition, February 3 – March 6, 2012] ", "Dedication" : "Gift of Isabel C. Herdle in memory of Hilda Altschule Coates", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/83.9_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/83.9_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/83.9_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/83.9_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "37633", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "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" : 1533, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1533", "Disp_Access_No" : "1971.65", "_AccNumSort1" : "", "Disp_Create_DT" : "1965", "_Disp_Start_Dat" : "1965", "_Disp_End_Date" : "1965", "Disp_Title" : "Landscape III", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Allan D'Arcangelo", "Sort_Artist" : "D'Arcangelo, Allan", "Disp_Dimen" : "39 7/8 x 29 13/16 in. (101.3 x 75.7 cm)", "Disp_Height" : "39 7/8 in.", "Disp_Width" : "29 13/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "wove paper", "Disp_Medium" : "Color Serigraph", "Info_Page_Comm" : "Allan D’Arcangelo’s <em>Landscape III</em> is a consideration of the new American landscape of highways, suspended bridges, traffic signs, and billboards. A minor border of sky and grass surround a traffic sign that normally indicates a hairpin curve. Turned on its side and placed over another arrow sign pointing in the opposite direction, the sign’s meaning becomes unclear and potentially dangerous. [label text for <em>Modern Icon: The Machine As Subject in American Art</em> exhibition, February 3 – March 6, 2012] ", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/71.65_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/71.65_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/71.65_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/71.65_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "37656", "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" : 1551, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1551", "Disp_Access_No" : "1975.142", "_AccNumSort1" : "", "Disp_Create_DT" : "1931", "_Disp_Start_Dat" : "1931", "_Disp_End_Date" : "1931", "Disp_Title" : "Two Figures and El", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Stuart Davis", "Sort_Artist" : "Davis, Stuart", "Disp_Dimen" : "19 11/16 x 25 7/8 in. (50 x 65.7 cm)", "Disp_Height" : "19 11/16 in.", "Disp_Width" : "25 7/8 in.", "Dimen_Extent" : "", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : ""Some of the things that have made me want to paint... are: skyscraper architecture… fast travel by train, auto, and aeroplane which brought new and multiple perspectives…" -Stuart Davis, 1954 Stuart Davis was so inspired by the visual discontinuity and fragmentation of the urban environment that he developed a unique, modern visual lexicon to capture it. Without regard for perspective, scale, or the laws of gravity, Davis’s abstracted vision of two individuals waiting on the platform for an elevated train captures all the noise and energy of the scene. [label text for <em>Modern Icon: The Machine As Subject in American Art</em> exhibition, February 3 – March 6, 2012] ", "Dedication" : "Artists in the Kitchen Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.142_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.142_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.142_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.142_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "37622", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4960, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4960", "Disp_Access_No" : "1959.1", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1898-1912", "_Disp_Start_Dat" : "1898", "_Disp_End_Date" : "1912", "Disp_Title" : "Dancer Holding Her Right Foot in Her Right Hand", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Edgar Degas", "Sort_Artist" : "Degas, Edgar", "Disp_Dimen" : "19 1/2 in. (49.5 cm)", "Disp_Height" : "19 1/2 in.", "Disp_Width" : "", "Dimen_Extent" : "", "Medium" : "Bronze", "Support" : "", "Disp_Medium" : "Bronze", "Info_Page_Comm" : "", "Dedication" : "R. T. Miller Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "French", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/59.1_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/59.1_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/59.1_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/59.1_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "37410", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4961, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4961", "Disp_Access_No" : "1981.23", "_AccNumSort1" : "", "Disp_Create_DT" : "cast 1919-1937", "_Disp_Start_Dat" : "1919", "_Disp_End_Date" : "1937", "Disp_Title" : "Woman Washing Her Left Leg", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Edgar Degas", "Sort_Artist" : "Degas, Edgar", "Disp_Dimen" : "5 3/4 in. (14.6 cm)", "Disp_Height" : "5 3/4 in.", "Disp_Width" : "", "Dimen_Extent" : "", "Medium" : "Bronze", "Support" : "", "Disp_Medium" : "Bronze", "Info_Page_Comm" : "", "Dedication" : "Gift of George and Gertrude Thannhauser Beyer in memory of the Thannhauser family", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "French", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/81.23_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/81.23_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/81.23_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/81.23_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "37426", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "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" : 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" : 12746, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/12746", "Disp_Access_No" : "2004.14", "_AccNumSort1" : "", "Disp_Create_DT" : "1910", "_Disp_Start_Dat" : "1910", "_Disp_End_Date" : "1910", "Disp_Title" : "Windy Doorstep", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Mary Abastenia St. Leger Eberle", "Sort_Artist" : "Eberle, Mary Abastenia St. Leger", "Disp_Dimen" : "13 3/4 x 9 1/2 x 6 3/4 in. (34.9 x 24.1 x 17.1 cm)", "Disp_Height" : "13 3/4 in.", "Disp_Width" : "9 1/2 in.", "Dimen_Extent" : "sight", "Medium" : "Bronze", "Support" : "", "Disp_Medium" : "Bronze", "Info_Page_Comm" : "While [Gaston] Lachaise’s sculptures portrayed idealized subjects or specific individuals, Eberle often depicted realistic figures she saw on the streets of New York. [Gallery label text, 2005]", "Dedication" : "Maurice R. and Maxine B. 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(20.3 x 12.7 x 12.7 cm)", "Disp_Height" : "8 in.", "Disp_Width" : "5 in.", "Dimen_Extent" : "", "Medium" : "Ceramic", "Support" : "", "Disp_Medium" : "Ceramic", "Info_Page_Comm" : "", "Dedication" : "Gift of Ron Kransler in memory of Karl W. Taylor", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Ceramics", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/97.176_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/97.176_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/97.176_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/97.176_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "31700", "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" : 8108, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/8108", "Disp_Access_No" : "2000.31", "_AccNumSort1" : "", "Disp_Create_DT" : "1998", "_Disp_Start_Dat" : "1998", "_Disp_End_Date" : "1998", "Disp_Title" : "Lunar Movement", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Andrea Gill", "Sort_Artist" : "Gill, Andrea", "Disp_Dimen" : "28 1/2 x 21 x 10 in. (72.4 x 53.3 x 25.4 cm)", "Disp_Height" : "28 1/2 in.", "Disp_Width" : "21 in.", "Dimen_Extent" : "", "Medium" : "Earthenware", "Support" : "", "Disp_Medium" : "Earthenware, engobe and glaze", "Info_Page_Comm" : ""Lunar Movement is from a series I did in 1997-98," writes ceramist Andrea Gill, who teaches at the School of Art and Design at Alfred University. "My thoughts at the time were very much about dance, and the title refers to that, and perhaps to the Lunar Moth, in reference to the wings on the vase. I have been working for a long time on large vases covered with layers of color and pattern. It is a combination of my fascination with the vase as a form for exploration of volume, and my love of color, pattern and ceramic surfaces." Gill's visionary work advances the great tradition of pottery found in many ancient and modern cultures. [Gallery label text]", "Dedication" : "Maurice R. and Maxine B. Forman Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Ceramics", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "What to call my work....earthenware, engobe and glaze. Engobe is a more correct term for what I usually call slip. Slip is a very generic term for any liquid clay...engobe (I think it is French) is the word used for slip that is used for surface decoration. Earthenware is clay that is not vitrified, and is fired to a lower temperature (about 1900 deg. F.) "Lunar Movement" is from a series I did in 1997-98. My thoughts at the time were very much about dance, and the title refers to that, and perhaps to the Lunar Moth, in reference to the wings on the vase. I have been working fora long time on large vases covered with layers of color and pattern. It is a combination of my fascination with the vase as a form for exploration of volume, and my love of color, pattern and ceramic surfaces. The work is made using slabs and press molds and is fired to about 1900 deg. F. (notes from an e-mail from Andrea Gill to curator Marjorie Searl, August 4, 2001", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2000.31_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2000.31_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2000.31_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2000.31_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "15882", "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" : 1671, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1671", "Disp_Access_No" : "1975.332.3", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1970", "_Disp_Start_Dat" : "1965", "_Disp_End_Date" : "1975", "Disp_Title" : "Paul's Corner", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Ralph Goings", "Sort_Artist" : "Goings, Ralph", "Disp_Dimen" : "18 1/8 x 25 3/4 in. (46 x 65.4 cm)", "Disp_Height" : "18 1/8 in.", "Disp_Width" : "25 3/4 in.", "Dimen_Extent" : "", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Offset lithograph", "Info_Page_Comm" : "An early 1950s Ford F100 truck provided Photorealist artist Ralph Goings with a handsome still-life element to anchor his composition in <em>Paul’s Corner</em>. The truck’s smooth line and muscular body, the essence of machine-crafted form, were 20 years old when this image was made. [label text for <em>Modern Icon: The Machine As Subject in American Art</em> exhibition, February 3 – March 6, 2012] ", "Dedication" : "The Charles Rand Penney Collection of the Memorial Art Gallery", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.332.3_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.332.3_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.332.3_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.332.3_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "37628", "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" : 1764, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1764", "Disp_Access_No" : "1940.27", "_AccNumSort1" : "", "Disp_Create_DT" : "1913", "_Disp_Start_Dat" : "1913", "_Disp_End_Date" : "1913", "Disp_Title" : "New York Sky Line, Dark Buildings", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Childe Hassam", "Sort_Artist" : "Hassam, Childe", "Disp_Dimen" : "13 3/4 x 7 3/4 in. (34.9 x 19.7 cm)", "Disp_Height" : "13 3/4 in.", "Disp_Width" : "7 3/4 in.", "Dimen_Extent" : "", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "Childe Hassam drew this 1913 profile of the New York City skyline the year construction on the Woolworth Building was completed. At 57 stories, it was the tallest building in the world until the Chrysler Building was completed in 1930. Perhaps it was excitement with the new engineering and construction technologies that led Hassam to exert artistic license in his depiction of the building’s silhouette, thereby dramatizing its height. [label text for <em>Modern Icon: The Machine As Subject in American Art</em> exhibition, February 3 – March 6, 2012] ", "Dedication" : "Gift of Mrs. Maud Hassam", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/40.27_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/40.27_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/40.27_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/40.27_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "37616", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "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" : 4175, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4175", "Disp_Access_No" : "2000.1", "_AccNumSort1" : "", "Disp_Create_DT" : "1988", "_Disp_Start_Dat" : "1988", "_Disp_End_Date" : "1988", "Disp_Title" : "Turquoise Bay Winter", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Wayne Higby", "Sort_Artist" : "Higby, Wayne", "Disp_Dimen" : "9 1/2 x 14 x 17 in. (24.1 x 35.6 x 43.2 cm)", "Disp_Height" : "9 1/2 in.", "Disp_Width" : "14 in.", "Dimen_Extent" : "", "Medium" : "Earthenware", "Support" : "", "Disp_Medium" : "Raku-fired earthenware", "Info_Page_Comm" : "Wayne Higby, head of the ceramics department at Alfred University in Alfred, New York, is one of America’s preeminent ceramists. His works are small-scale abstract landscapes, incorporating colors and forms derived from the natural world. Influenced by the Japanese ceramic tradition, Higby uses a raku firing technique wherein glazed pieces are removed from the kiln while still hot and placed to cool in combustible materials like leaves or straw. This typically results in gray or black areas, lustrous colors, and a crackled surface. Turquoise Bay Winter is one of a series of “landscape bowls” that the artist created in the 1980s and 1990s. [Summer 2015]", "Dedication" : "Gift in honor of Carolyn Friedlander from her family", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Ceramics", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2000.1_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2000.1_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2000.1_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2000.1_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12339", "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" : 967, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/967", "Disp_Access_No" : "1988.15", "_AccNumSort1" : "", "Disp_Create_DT" : "1915", "_Disp_Start_Dat" : "1915", "_Disp_End_Date" : "1915", "Disp_Title" : "Joan of Arc", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Anna Hyatt Huntington", "Sort_Artist" : "Huntington, Anna Hyatt", "Disp_Dimen" : "18 x 12 x 5 in. (45.7 x 30.5 x 12.7 cm)", "Disp_Height" : "18 in.", "Disp_Width" : "12 in.", "Dimen_Extent" : "overall", "Medium" : "Bronze", "Support" : "", "Disp_Medium" : "Bronze", "Info_Page_Comm" : "Sculptor Anna Hyatt Huntington, whose career overlapped chronologically with [Gaston] Lachaise’s, is well known for her historical and fictional subjects. In addition to creating Joan of Arc, located in New York City (the heroic version of MAG’s smaller sculpture), she also sculpted El Cid and Don Quixote for the Hispanic Society. [Gallery label text, 2005] ", "Dedication" : "Gift of the friends and family of Margaret M. McDonald", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/88.15_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/88.15_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/88.15_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/88.15_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12509", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 968, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/968", "Disp_Access_No" : "1938.3", "_AccNumSort1" : "", "Disp_Create_DT" : "before 3/10/23", "_Disp_Start_Dat" : "2/8/2023", "_Disp_End_Date" : "3/9/2023", "Disp_Title" : "Monkey and Bird", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Anna Hyatt Huntington", "Sort_Artist" : "Huntington, Anna Hyatt", "Disp_Dimen" : "5 1/2 x 3 3/4 in. (14 x 9.5 cm)", "Disp_Height" : "5 1/2 in.", "Disp_Width" : "3 3/4 in.", "Dimen_Extent" : "", "Medium" : "Bronze", "Support" : "", "Disp_Medium" : "Bronze", "Info_Page_Comm" : "", "Dedication" : "Gift of the artist", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/38.3_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/38.3_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/38.3_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/38.3_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "40233", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4798, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4798", "Disp_Access_No" : "1971.13", "_AccNumSort1" : "", "Disp_Create_DT" : "1910-1914", "_Disp_Start_Dat" : "1910", "_Disp_End_Date" : "1914", "Disp_Title" : "Veranda Post", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Olowe of Ise", "Sort_Artist" : "Ise, Olowe of", "Disp_Dimen" : "56 x 132 x 10 in. (142.2 x 335.3 x 25.4 cm)", "Disp_Height" : "56 in.", "Disp_Width" : "132 in.", "Dimen_Extent" : "maximum", "Medium" : "Wood", "Support" : "", "Disp_Medium" : "Wood, paint", "Info_Page_Comm" : "A royal wife stands with her hands resting on the heads of her twin daughters who hold their breasts in a Yoruba gesture of greeting, devotion and humility. This post was carved to decorate a courtyard veranda in the palace of the Ogoga of Ikere, one of the kings of Yorubaland. The courtyard served as an official area where the king received important visitors and conducted affairs of state. It was important that he show off his wealth, power and sophistication in this space. This veranda post was carved by one of the most renowned sculptors in Africa, Olowe of Ise. His sculptures were so beautiful that some people believed Olowe harnessed the power of spirits who carved for him. Elaborate hairstyles and scarification patterns (look at the royal wife’s back) demonstrate Olowe’s technical mastery and reflect Yoruba standards of beauty. Traces of layered pigments indicate that these were once brightly painted and regularly refurbished. [Gallery label text, 2009] ", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "Nigerian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "The piece was still in situ until at least 1964 (see photo in situ in 1998 "Olowe of Ise" exhibition brochure in curatorial file).", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/71.13_A6.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/71.13_A6.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/71.13_A6.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/71.13_A6.jpg", "IsPrimary" : "1", "_SurrogateID" : "38870", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Scanned from transparency and background masked out by Andy Olenick.", "View" : "" } , ] },{ "embark_ID" : 20687, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/20687", "Disp_Access_No" : "1996.9.1", "_AccNumSort1" : "", "Disp_Create_DT" : "1995", "_Disp_Start_Dat" : "1995", "_Disp_End_Date" : "1995", "Disp_Title" : "Emergence", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Nancy Jurs", "Sort_Artist" : "Jurs, Nancy", "Disp_Dimen" : "84 x 33 x 24 in. (213.4 x 83.8 x 61 cm)", "Disp_Height" : "84 in.", "Disp_Width" : "33 in.", "Dimen_Extent" : "overall", "Medium" : "Clay", "Support" : "", "Disp_Medium" : "Clay", "Info_Page_Comm" : "", "Dedication" : "Gift of Mr. and Mrs. Robert D. Hursh", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/96.9.1_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/96.9.1_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/96.9.1_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/96.9.1_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "24015", "Image_Type" : "Transparency", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 973, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/973", "Disp_Access_No" : "1996.9.2", "_AccNumSort1" : "", "Disp_Create_DT" : "1995", "_Disp_Start_Dat" : "1995", "_Disp_End_Date" : "1995", "Disp_Title" : "Emergence", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Nancy Jurs", "Sort_Artist" : "Jurs, Nancy", "Disp_Dimen" : "88 x 30 x 24 in. (223.5 x 76.2 x 61 cm)", "Disp_Height" : "88 in.", "Disp_Width" : "30 in.", "Dimen_Extent" : "overall", "Medium" : "Clay", "Support" : "", "Disp_Medium" : "Clay", "Info_Page_Comm" : "", "Dedication" : "Gift of Mr. and Mrs. Robert D. Hursh", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/96.9.2_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/96.9.2_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/96.9.2_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/96.9.2_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12533", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3438, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3438", "Disp_Access_No" : "1970.12", "_AccNumSort1" : "", "Disp_Create_DT" : "1937", "_Disp_Start_Dat" : "1937", "_Disp_End_Date" : "1937", "Disp_Title" : "Fan, New York, 1937", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "André Kertész", "Sort_Artist" : "Kertész, André", "Disp_Dimen" : "13 15/16 x 11 in. (35.4 x 27.9 cm)", "Disp_Height" : "13 15/16 in.", "Disp_Width" : "11 in.", "Dimen_Extent" : "sheet", "Medium" : "Gelatin silver print", "Support" : "paper", "Disp_Medium" : "Gelatin silver print", "Info_Page_Comm" : "André Kertész’s photo of an arm threaded through a fan hints at the vulnerability of the human body to the awesome power of the machine. During what is now called the “machine age” (1918-1941), American culture was preoccupied with innovations in technology and industrialization. While machines offered the average individual unprecedented lifestyle improvements, a threat hovered beneath the promise—the machine needed to be controlled. [label text for <em>Modern Icon: The Machine As Subject in American Art</em> exhibition, February 3 – March 6, 2012] ", "Dedication" : "Gift of the Genesee Valley School Development Assocation", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Photograph", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/70.12_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/70.12_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/70.12_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/70.12_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "37619", "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" : 5213, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5213", "Disp_Access_No" : "1962.53", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1928", "_Disp_Start_Dat" : "1923", "_Disp_End_Date" : "1933", "Disp_Title" : "Kneeling Figure", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Georg Kolbe", "Sort_Artist" : "Kolbe, Georg", "Disp_Dimen" : "21 1/2 in. (54.6 cm)", "Disp_Height" : "21 1/2 in.", "Disp_Width" : "", "Dimen_Extent" : "", "Medium" : "Bronze", "Support" : "", "Disp_Medium" : "Bronze", "Info_Page_Comm" : "", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "German", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/62.53_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/62.53_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/62.53_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/62.53_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "37412", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 980, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/980", "Disp_Access_No" : "1964.28", "_AccNumSort1" : "", "Disp_Create_DT" : "1927", "_Disp_Start_Dat" : "1927", "_Disp_End_Date" : "1927", "Disp_Title" : "Fountain Figure", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Gaston Lachaise", "Sort_Artist" : "Lachaise, Gaston", "Disp_Dimen" : "72 in. (182.9 cm)", "Disp_Height" : "72 in.", "Disp_Width" : "", "Dimen_Extent" : "", "Medium" : "Limestone", "Support" : "", "Disp_Medium" : "Limestone", "Info_Page_Comm" : "Charlotte Whitney Allen and her husband hired Pittsford native Fletcher Steele to design a garden for their newly built house on Oliver Street [Rochester, NY] in 1915. The lot was small, ninety by two hundred feet, so Steele had to make use of interesting details to provide visual stimulation. The young landscape architect had strong notions of what would make a small backyard into a charming city oasis, which he enumerated in several articles and even a book, "Design in the Little Garden". Sculpture was one such detail Steele felt was crucial to a small garden, providing it met the proper criteria. He also considered space composition a necessary factor in good garden design. Some of the traits good garden sculpture should possess, according to Steele, include substantial mass, interesting silhouette, strong light and shadow, and contrasting material and color to the foliage around it. Mr. and Mrs. Allen commissioned the French-born sculptor Gaston Lachaise in 1926 to create a figure for the focal point of their garden. They had first seen his work in an exhibition in New York City in 1918, from which they may have purchased a small sculpture, and possibly even earlier in the 1913 Armory Show. A group of letters housed at Kenyon College in Gambier, Ohio chronicles the development of their occasionally stormy relationship. After considerable delay, the sculpture was finally installed above the pool in the Oliver Street garden. Alfred Stieglitz, who championed Lachaise, wrote to the Allens in 1927 that "It [the sculpture] has been seen by at least thirty sculptors and their unanimous opinion has been that it is one of the grand bits of work that has come out of America." (Kenyon College Special Collections, Gambier, Ohio, March 26, 1927) [Gallery label text]", "Dedication" : "Gift of Charlotte Whitney Allen", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Children" : [ { "Rel_Obj_ID" : "3184", "Rel_Obj_Title" : "Sketch for "Fountain Figure"" } ], "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/64.28_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/64.28_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/64.28_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/64.28_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12420", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/64.28_R1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/64.28_R1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/64.28_R1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/64.28_R1.jpg", "IsPrimary" : "0", "_SurrogateID" : "18655", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/64.28_R2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/64.28_R2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/64.28_R2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/64.28_R2.jpg", "IsPrimary" : "0", "_SurrogateID" : "18656", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/64.28_R3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/64.28_R3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/64.28_R3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/64.28_R3.jpg", "IsPrimary" : "0", "_SurrogateID" : "33491", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "In situ view in Charlotte Whitney Allen''s garden...Photo in Object file.", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/64.28_R4.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/64.28_R4.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/64.28_R4.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/64.28_R4.jpg", "IsPrimary" : "0", "_SurrogateID" : "33492", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "In situ view in Charlotte Whitney Allen''s garden...Photo in Object file.", "View" : "" } , ] },{ "embark_ID" : 984, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/984", "Disp_Access_No" : "1973.75", "_AccNumSort1" : "", "Disp_Create_DT" : "1928", "_Disp_Start_Dat" : "1928", "_Disp_End_Date" : "1928", "Disp_Title" : "Standing Woman", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Gaston Lachaise", "Sort_Artist" : "Lachaise, Gaston", "Disp_Dimen" : "65 in. (165.1 cm)", "Disp_Height" : "65 in.", "Disp_Width" : "", "Dimen_Extent" : "", "Medium" : "Bronze", "Support" : "", "Disp_Medium" : "Bronze", "Info_Page_Comm" : ""Standing Woman" was commissioned for the New York City apartment of Mr. and Mrs. O'Donnell Iselin, cousins of James Sibley Watson, Jr., one of Lachaise's most important patrons. Lachaise designed the sculpture knowing that the work was to be the centerpiece of a formal library, and would be placed on the mantel above the fireplace. He wrote that he "composed the figure in a spirit of tranquil elevation, harmonious to the purpose of the room." Lachaise's most distinguished subjects are life sized draped female figures. The Memorial Art Gallery is fortunate to own two examples, the bronze Standing Woman and the stone Fountain Figure, both on view in the Vanden Brul Sculpture Pavilion. [Gallery label text, 2005]", "Dedication" : "Gift of Mr. Peter Iselin and his sister, Mrs. Emilie I. Wiggin", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/73.75_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/73.75_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/73.75_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/73.75_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "21999", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "This photograph is actually a conservation photo taken after treatment at Williamstown Art Conservation Center in 2005. The existing digital/embark kiosk display image is so deplorable and misrepresentative of the object that it seemed necessary to use the more current, better quality conservation photo. Modifications to the original image file (saved to embark drive: images folder: conservation images folder: 73.75 folder) was to block out the white base the object was photographed on. Jessica Marten, Assistant Curator. February 2, 2006", "View" : "" } , ] },{ "embark_ID" : 987, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/987", "Disp_Access_No" : "1997.11", "_AccNumSort1" : "", "Disp_Create_DT" : "July 1923 - February 1924", "_Disp_Start_Dat" : "7/1923", "_Disp_End_Date" : "2/1924", "Disp_Title" : "The Mountain", "Alt_Title" : "The Mountain", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Gaston Lachaise", "Sort_Artist" : "Lachaise, Gaston", "Disp_Dimen" : "9 x 20 x 9 in. (22.9 x 50.8 x 22.9 cm)", "Disp_Height" : "9 in.", "Disp_Width" : "20 in.", "Dimen_Extent" : "overall", "Medium" : "Limestone", "Support" : "", "Disp_Medium" : "Limestone", "Info_Page_Comm" : "Lachaise made numerous versions of "The Mountain," in which he suggested the similarity between a reclining female figure and a mountainous form. [Gallery label text, 2005]", "Dedication" : "Gift of Dr. Michael L. Watson", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Hilton Kramer, author of "The Sculpture of Gaston Lachaise" (New York, Eakins Press Publishers, 1967) said "Lachaise created numerous reclining ''Mountain'' figures in varying sizes in stone and bronze - the first in 1913, the last and largest at the end of his life."", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/97.11_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/97.11_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/97.11_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/97.11_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "15903", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/97.11_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/97.11_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/97.11_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/97.11_A2.jpg", "IsPrimary" : "0", "_SurrogateID" : "26544", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 990, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/990", "Disp_Access_No" : "1967.57", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Head of a Child", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Winifred Lansing", "Sort_Artist" : "Lansing, Winifred", "Disp_Dimen" : "9 x 9 in. (22.9 x 22.9 cm)", "Disp_Height" : "9 in.", "Disp_Width" : "9 in.", "Dimen_Extent" : "", "Medium" : "Marble", "Support" : "", "Disp_Medium" : "Marble", "Info_Page_Comm" : "Lansing studied art at the Memorial Art Gallery and also at the Art Students League in New York City. She transforms a round marble ball into a child’s head with only the most elemental human features, revealing the grain of the marble to remind us of the timeless material from which the sculpture was carved. Oct. 2011/Folk Art Case M. Searl", "Dedication" : "Gift of a Friend of the Gallery", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/67.57_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/67.57_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/67.57_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/67.57_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "36610", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/67.57_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/67.57_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/67.57_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/67.57_A2.jpg", "IsPrimary" : "0", "_SurrogateID" : "36611", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "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" : 4978, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4978", "Disp_Access_No" : "1946.42", "_AccNumSort1" : "", "Disp_Create_DT" : "1904", "_Disp_Start_Dat" : "1904", "_Disp_End_Date" : "1904", "Disp_Title" : "Moonlight: The Artist's House at Gerberoy", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Henri-Eugène-Augustin Le Sidaner", "Sort_Artist" : "Le Sidaner, Henri-Eugène-Augustin", "Disp_Dimen" : "25 1/4 x 32 in. (64.1 x 81.3 cm)", "Disp_Height" : "25 1/4 in.", "Disp_Width" : "32 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "About the time this work was painted, Le Sidaner's art was compared by a French critic with the music of his countryman and exact contemporary Claude Debussy. The painting's subtle, almost monochromatic coloring, with daubing brushstrokes creating a soft, flickering play of light over surfaces, is certain reminiscent of Debussy's dappled tonal effects. [Adapted from gallery label text, 1999]", "Dedication" : "Gift of Mrs. William R. Taylor", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "French", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Catalogue raisonné (Yann Farinaux-Le Sidaner, 1989) says this painting was made in 1903; but 1974 Musée de la Ville de Dunkerque catalogue indicates artist didn''t buy this cottage until 1904.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/46.42_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/46.42_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/46.42_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/46.42_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "14442", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 5214, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5214", "Disp_Access_No" : "1946.11", "_AccNumSort1" : "", "Disp_Create_DT" : "1924", "_Disp_Start_Dat" : "1924", "_Disp_End_Date" : "1924", "Disp_Title" : "Footed Goblet", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Fernand Léger", "Sort_Artist" : "Léger, Fernand", "Disp_Dimen" : "25 1/4 x 18 in. (64.1 x 45.7 cm)", "Disp_Height" : "25 1/4 in.", "Disp_Width" : "18 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" : "French", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/46.11_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/46.11_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/46.11_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/46.11_A1.jpg", "IsPrimary" : "0", "_SurrogateID" : "15702", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "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" : 2004, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2004", "Disp_Access_No" : "1975.239", "_AccNumSort1" : "", "Disp_Create_DT" : "1964", "_Disp_Start_Dat" : "1964", "_Disp_End_Date" : "1964", "Disp_Title" : "CRAK!", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Roy Lichtenstein", "Sort_Artist" : "Lichtenstein, Roy", "Disp_Dimen" : "19 7/8 x 28 7/16 in. (50.5 x 72.2 cm)", "Disp_Height" : "19 7/8 in.", "Disp_Width" : "28 7/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "wove paper", "Disp_Medium" : "Offset lithograph", "Info_Page_Comm" : "Gallery label text 2012: CRAK! was made around the time Roy Lichtenstein first gained attention for his appropriation and elevation of the visual vocabulary of comic strips. The now-iconic Ben-Day dots, thick outlines, speech balloons, and tight cropping were quite new and shocking at the time. Both Lichtenstein and Warhol were elemental in the Pop Art movement for their conscious rejection of highbrow subjects and their use of commercial printing techniques. ", "Dedication" : "The Charles Rand Penney Collection of the Memorial Art Gallery", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Produced for the same Leo Castelli Gallery exhibition as "Crying Girl," September 28-October 24, 1963 There is a numbered edition of 300 and five other slightly varied unnumbered editions. Runs: Red, yellow, black", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.239_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.239_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.239_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.239_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12804", "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" : 938, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/938", "Disp_Access_No" : "1971.40", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1900", "_Disp_Start_Dat" : "1895", "_Disp_End_Date" : "1905", "Disp_Title" : "Merry-Go-Round Goat", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Charles Looff", "Sort_Artist" : "Looff, Charles", "Disp_Dimen" : "72 1/4 in. (183.5 cm)", "Disp_Height" : "72 1/4 in.", "Disp_Width" : "", "Dimen_Extent" : "", "Medium" : "Wood", "Support" : "", "Disp_Medium" : "Wood and paint", "Info_Page_Comm" : "In the second half of the nineteenth century, with the rising popularity of resort communities on streetcar routes, carvers began to specialize in carousel and merry-go-round figures to populate the musical rides. Unfortunately, we don’t know the original location of MAG’s Goat. Based on the style of the carving of the saddle and bridle, it is likely that it was made by Charles Looff, whose company manufactured the first carousel at Coney Island. [Gallery label text, 2002]", "Dedication" : "General Acquisitions Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Recreational Artifact", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/71.40_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/71.40_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/71.40_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/71.40_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12448", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 12024, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/12024", "Disp_Access_No" : "2004.1", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1926-1927", "_Disp_Start_Dat" : "1926", "_Disp_End_Date" : "1927", "Disp_Title" : "Aeroplane, Image Thrown on a Screen", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Louis Lozowick", "Sort_Artist" : "Lozowick, Louis", "Disp_Dimen" : "13 x 18 3/8 in. (33 x 46.6 cm)", "Disp_Height" : "13 in.", "Disp_Width" : "18 3/8 in.", "Dimen_Extent" : "sheet", "Medium" : "Graphite and black ink with white paint ", "Support" : "paper", "Disp_Medium" : "Graphite and black ink with white paint on heavy cream wove paper", "Info_Page_Comm" : "Lozowick’s style, Precisionism, was practiced by many American artists between the wars. Although it was not a unified artistic movement, Precisionist artists did share an interest in technological themes and a style that celebrated the precise lines and formal beauty of machines. As a proponent of the industrial aesthetic, Louis Lozowick was involved in organizing the widely-influential 1927 <em>Machine-Age Exposition</em> in New York City. This groundbreaking exhibition included machines and machine parts alongside paintings, sculptures, and drawings by avant-garde artists. This drawing was likely related to Lozowick’s set design for a 1926 production of George Kaiser’s play <em>Gas</em>, about the dehumanization and need for spiritual regeneration caused by industrialization. Lozowick constructed wooden structures of his machine ornaments and projected the images onto screens to create a mechanically-themed set design. [label text for <em>Modern Icon: The Machine As Subject in American Art</em> exhibition, February 3 – March 6, 2012] ", "Dedication" : "Anonymous gift", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Drawing", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2004.1_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2004.1_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2004.1_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2004.1_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "37635", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "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" : 2049, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2049", "Disp_Access_No" : "1975.245", "_AccNumSort1" : "", "Disp_Create_DT" : "1921", "_Disp_Start_Dat" : "1921", "_Disp_End_Date" : "1921", "Disp_Title" : "Downtown, New York", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "John Marin", "Sort_Artist" : "Marin, John", "Disp_Dimen" : "6 3/4 x 8 3/4 in. (17.1 x 22.2 cm)", "Disp_Height" : "6 3/4 in.", "Disp_Width" : "8 3/4 in.", "Dimen_Extent" : "", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Etching", "Info_Page_Comm" : "In John Marin’s <em>Downtown, New York</em>, the viewer experiences the dizzying, disorienting sensation of looking up at the buildings while walking on a city street. Marin’s urban vision was one of energy, force, and fragmentation. He sought to capture the frenetic pace of the modern urban experience and the power of skyscrapers as though they themselves were active players in the city’s vitality, as “warring, pushing, pulling forces.” The slashing diagonal form is the elevated railroad that dominated the New York City landscape starting in the 1870s. [label text for <em>Modern Icon: The Machine As Subject in American Art</em> exhibition, February 3 – March 6, 2012] ", "Dedication" : "The Charles Rand Penney Collection of the Memorial Art Gallery", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.245_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.245_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.245_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.245_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "37623", "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" : 14106, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14106", "Disp_Access_No" : "2006.39", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1960s", "_Disp_Start_Dat" : "1955", "_Disp_End_Date" : "1965", "Disp_Title" : "Jar", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Maria Martinez", "Sort_Artist" : "Martinez, Maria", "Disp_Dimen" : "4 3/4 x 6 in. (12.1 x 15.2 cm)", "Disp_Height" : "4 3/4 in.", "Disp_Width" : "6 in.", "Dimen_Extent" : "pieced sheets", "Medium" : "Blackware", "Support" : "", "Disp_Medium" : "Blackware", "Info_Page_Comm" : "The name and work of Maria Martinez is recognized far and wide. Learning the art of pottery-making from her aunt, she began making pots with her husband Julian Martinez several years after they were married. They became well-known for their distinctive black-on-black ware, made by combining designs that had been highly burnished (and appeared glossy) with those that were slip-painted (and appeared matte). Maria continued to produce pottery after Julian’s death in 1943, collaborating with family members. This jar was made with her son, Popovi Da. [Gallery label text, 2009]", "Dedication" : "Bequest of Phyllis Clark", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Ceramics", "Creation_Place2" : "Native American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2006.39_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2006.39_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2006.39_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2006.39_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "31036", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 5218, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5218", "Disp_Access_No" : "1924.38", "_AccNumSort1" : "", "Disp_Create_DT" : "1922-1923", "_Disp_Start_Dat" : "1922", "_Disp_End_Date" : "1923", "Disp_Title" : "Girl with a Tricorne (Vénitienne)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Henri Matisse", "Sort_Artist" : "Matisse, Henri", "Disp_Dimen" : "24 3/8 x 20 in. (61.9 x 50.8 cm)", "Disp_Height" : "24 3/8 in.", "Disp_Width" : "20 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Gift of James Sibley Watson", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "French", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/24.38_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/24.38_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/24.38_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/24.38_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "16513", "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" : 4132, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4132", "Disp_Access_No" : "1953.6", "_AccNumSort1" : "", "Disp_Create_DT" : "1903", "_Disp_Start_Dat" : "1903", "_Disp_End_Date" : "1903", "Disp_Title" : "Waterloo Bridge, Veiled Sun", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Claude Monet", "Sort_Artist" : "Monet, Claude", "Disp_Dimen" : "25 1/2 x 39 1/4 in. (64.8 x 99.7 cm)", "Disp_Height" : "25 1/2 in.", "Disp_Width" : "39 1/4 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Monet loved London for its fog. During his 1901 visit to the city, he attempted to capture the evanescent effects of its misty climate in a series of views of Waterloo Bridge under varying conditions. Each time the light and weather shifted, he began a new canvas or returned to the one that recorded that particular atmosphere. Monet did not complete the paintings in London. He perfected them in his studio in France over the next three years. Thus, this painting records not only the artist's immediate response to the scene, but also his memory of it. [Gallery label text, 1999]", "Dedication" : "Gift of the Estate of Emily and James Sibley Watson", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "French", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/53.6_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/53.6_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/53.6_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/53.6_A1.jpg", "IsPrimary" : "0", "_SurrogateID" : "12393", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/53.6_A5.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/53.6_A5.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/53.6_A5.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/53.6_A5.jpg", "IsPrimary" : "1", "_SurrogateID" : "45619", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "On disk MAG 160620 Mixed Images.", "View" : "" } , ] },{ "embark_ID" : 7523, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7523", "Disp_Access_No" : "1972.51", "_AccNumSort1" : "", "Disp_Create_DT" : "1968", "_Disp_Start_Dat" : "1968", "_Disp_End_Date" : "1968", "Disp_Title" : "Working Model for Three Piece No. 3: Vertebrae", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Henry Spencer Moore", "Sort_Artist" : "Moore, Henry Spencer", "Disp_Dimen" : "41 5/8 x 93 x 48 in. (105.7 x 236.2 x 121.9 cm)", "Disp_Height" : "41 5/8 in.", "Disp_Width" : "93 in.", "Dimen_Extent" : "", "Medium" : "Bronze", "Support" : "", "Disp_Medium" : "Bronze", "Info_Page_Comm" : "", "Dedication" : "Given in memory of Joseph C. Wilson by a group of his friends", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "British", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/72.51_R4.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/72.51_R4.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/72.51_R4.tif", "IIIF_URL": "http://iiif.gallerysystems.com/72.51_R4.tif", "IsPrimary" : "0", "_SurrogateID" : "37666", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Object being installed into the Fountain base", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/72.51_A15.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/72.51_A15.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/72.51_A15.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/72.51_A15.jpg", "IsPrimary" : "1", "_SurrogateID" : "38871", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Other views and angles on disk.", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/72.51_A16.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/72.51_A16.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/72.51_A16.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/72.51_A16.jpg", "IsPrimary" : "0", "_SurrogateID" : "38872", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Other views and angles on disk.", "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" : 1015, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1015", "Disp_Access_No" : "1975.114", "_AccNumSort1" : "", "Disp_Create_DT" : "1975", "_Disp_Start_Dat" : "1975", "_Disp_End_Date" : "1975", "Disp_Title" : "Mountain Piece", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Hilda Morris", "Sort_Artist" : "Morris, Hilda", "Disp_Dimen" : "60 x 60 x 48 in. (152.4 x 152.4 x 121.9 cm)", "Disp_Height" : "60 in.", "Disp_Width" : "60 in.", "Dimen_Extent" : "", "Medium" : "Bronze", "Support" : "", "Disp_Medium" : "Bronze", "Info_Page_Comm" : "", "Dedication" : "Gift of Frank and Lynne Lovejoy in memory of Suzanne Trimble Lovejoy", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Children" : [ { "Rel_Obj_ID" : "3213", "Rel_Obj_Title" : "Preparatory Drawing for "Mountain Piece," I" },{ "Rel_Obj_ID" : "3214", "Rel_Obj_Title" : "Preparatory Drawing for "Mountain Piece," II" },{ "Rel_Obj_ID" : "3215", "Rel_Obj_Title" : "Preparatory Drawing for "Mountain Piece," III" },{ "Rel_Obj_ID" : "3216", "Rel_Obj_Title" : "Preparatory Drawing for "Mountain Piece," IV" },{ "Rel_Obj_ID" : "3217", "Rel_Obj_Title" : "Preparatory Drawing for "Mountain Piece," V" },{ "Rel_Obj_ID" : "3218", "Rel_Obj_Title" : "Preparatory Drawing for "Mountain Piece," VI" },{ "Rel_Obj_ID" : "3219", "Rel_Obj_Title" : "Preparatory Drawing for "Mountain Piece," VII" },{ "Rel_Obj_ID" : "1017", "Rel_Obj_Title" : "Maquette for "Mountain Piece"" } ], "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.114_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.114_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.114_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.114_A1.jpg", "IsPrimary" : "0", "_SurrogateID" : "12640", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.114_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.114_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.114_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.114_A3.jpg", "IsPrimary" : "1", "_SurrogateID" : "41497", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Photos on disk entitled MAG Sculpture Garden. No uncorrected masters exist.", "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" : 2562, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2562", "Disp_Access_No" : "1922.1", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1900", "_Disp_Start_Dat" : "1895", "_Disp_End_Date" : "1905", "Disp_Title" : "Bowl", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Nampeyo", "Sort_Artist" : "Nampeyo", "Disp_Dimen" : "3 x 9 1/4 in. (7.6 x 23.5 cm)", "Disp_Height" : "3 in.", "Disp_Width" : "9 1/4 in.", "Dimen_Extent" : "", "Medium" : "Clay", "Support" : "", "Disp_Medium" : "Clay with mineral pigment", "Info_Page_Comm" : "Nampeyo's name and her descendants are cultural icons of Pueblo pottery. Belonging to the Hopi First Mesa pueblo, she learned to make pots at an early age. She is credited with the revival of Hopi pottery-making in the early 20th century, a result of her great skill and innovative adaptations of traditional forms and designs. The interior of this bowl is decorated with an image of a katsina, a supernatural being embodied by masked dancers of the pueblos. [Gallery label text, 2009]", "Dedication" : "Gift of Mrs. Henry A. Strong", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Ceramics", "Creation_Place2" : "Native American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : ""The ''Katchena'' painted in the bowl is a charm used in the snake dances. --collector''s notes in file", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/22.1_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/22.1_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/22.1_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/22.1_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "24115", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4212, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4212", "Disp_Access_No" : "2005.269", "_AccNumSort1" : "", "Disp_Create_DT" : "1975", "_Disp_Start_Dat" : "1975", "_Disp_End_Date" : "1975", "Disp_Title" : "Dawn's Landscape XL", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Louise Nevelson", "Sort_Artist" : "Nevelson, Louise", "Disp_Dimen" : "39 x 35 x 6 1/2 in. (99.1 x 88.9 x 16.5 cm)", "Disp_Height" : "39 in.", "Disp_Width" : "35 in.", "Dimen_Extent" : "", "Medium" : "Wood", "Support" : "", "Disp_Medium" : "Wood and paint", "Info_Page_Comm" : "", "Dedication" : "Anonymous gift", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2005.269_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.269_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2005.269_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2005.269_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "44786", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "This photo and alternates on disk entitled 160106", "View" : "" } , ] },{ "embark_ID" : 1025, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1025", "Disp_Access_No" : "1960.2", "_AccNumSort1" : "", "Disp_Create_DT" : "1957", "_Disp_Start_Dat" : "1957", "_Disp_End_Date" : "1957", "Disp_Title" : "Calligraphics", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Isamu Noguchi", "Sort_Artist" : "Noguchi, Isamu", "Disp_Dimen" : "70 5/8 x 18 x 3 5/8 in. (179.4 x 45.7 x 9.2 cm)", "Disp_Height" : "70 5/8 in.", "Disp_Width" : "18 in.", "Dimen_Extent" : "overall", "Medium" : "Iron, wood and rope", "Support" : "", "Disp_Medium" : "Cast iron, wood and rope", "Info_Page_Comm" : "Isamu Noguchi’s father was a Japanese poet and his mother was an American writer. Although he was born in California and lived much of his life in the U.S., Noguchi’s travels reflected his own East-West duality. The artist spent his childhood traveling throughout Japan with his mother. As a young man he went to Paris to study with the abstract sculptor Constantin Brancusi. In China, he studied the ancient art of calligraphy. In the sleek, mid-century forms of Calligraphics, Noguchi combined his love of modern sculpture and calligraphy. The two shapes suggest abstract versions of Japanese characters: ni meaning “the sun” (like the red sun on the flag of Japan) and hon meaning “the origin” (perhaps his own). [Summer 2015]", "Dedication" : "R. T. Miller Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Chiyo Ueyama notes that the sculpture suggests abstracted versions of the characters for "nihon," the Japanese name for Japan: the two characters translate to "the sun" (ni) and "the origin" (hon).", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/60.2_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/60.2_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/60.2_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/60.2_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12408", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "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" : 3920, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3920", "Disp_Access_No" : "1997.36", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Bowl", "Alt_Title" : "", "Obj_Title" : "Bowl, Flower Bird Motif", "Series_Title" : "", "Disp_Maker_1" : "Ohi Chozaemon X", "Sort_Artist" : "Ohi Chozaemon X", "Disp_Dimen" : "", "Disp_Height" : "", "Disp_Width" : "", "Dimen_Extent" : "", "Medium" : "Ceramic", "Support" : "", "Disp_Medium" : "Ceramic", "Info_Page_Comm" : "", "Dedication" : "Gift of the artist", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Ceramics", "Creation_Place2" : "Japanese", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Box stored in Small Object bay 2 shelf 4, as of 8/2013. KSchauber", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/97.36_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/97.36_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/97.36_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/97.36_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "18659", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 10399, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/10399", "Disp_Access_No" : "2001.17", "_AccNumSort1" : "", "Disp_Create_DT" : "1935-1936", "_Disp_Start_Dat" : "1935", "_Disp_End_Date" : "1936", "Disp_Title" : "White Collar Boys", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Elizabeth M. Olds", "Sort_Artist" : "Olds, Elizabeth M.", "Disp_Dimen" : "13 x 17 3/8 in. (33 x 44.1 cm)", "Disp_Height" : "13 in.", "Disp_Width" : "17 3/8 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "wove paper", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "In <em>White Collar Boys</em>, Elizabeth M. Olds depicts a group of Wall Street men marching down the street with no individuation or sense of independent will. The concept of the automaton—a human/machine amalgamation—was an outgrowth of life in an industrial, urban environment in which almost all facets of life had become automated and removed from nature. In 1922, philosopher and historian Lewis Mumford wrote, “We have had the alternative of humanizing the industrial city or de-humanizing the population. So far we have de-humanized the population.” [label text for <em>Modern Icon: The Machine As Subject in American Art</em> exhibition, February 3 – March 6, 2012] ", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2001.17_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2001.17_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2001.17_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2001.17_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "32733", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3224, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3224", "Disp_Access_No" : "1975.265", "_AccNumSort1" : "", "Disp_Create_DT" : "1966", "_Disp_Start_Dat" : "1966", "_Disp_End_Date" : "1966", "Disp_Title" : "Landscape 31", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "George Olson", "Sort_Artist" : "Olson, George", "Disp_Dimen" : "11 3/4 x 17 1/4 in. (29.8 x 43.8 cm)", "Disp_Height" : "11 3/4 in.", "Disp_Width" : "17 1/4 in.", "Dimen_Extent" : "", "Medium" : "Charcoal", "Support" : "paper", "Disp_Medium" : "Charcoal and wash ", "Info_Page_Comm" : "One of the most frightening notions tied to modern technology is that its evolution exists outside the control of man. In <em>Landscape 31</em>, artist George Olson creates a landscape in which discarded mass-produced goods obliterate any view of the sky, grass, or trees. [label text for <em>Modern Icon: The Machine As Subject in American Art</em> exhibition, February 3 – March 6, 2012] ", "Dedication" : "The Charles Rand Penney Collection of the Memorial Art Gallery", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Drawing", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.265_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.265_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.265_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.265_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "37624", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1030, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1030", "Disp_Access_No" : "1982.44", "_AccNumSort1" : "", "Disp_Create_DT" : "1977", "_Disp_Start_Dat" : "1977", "_Disp_End_Date" : "1977", "Disp_Title" : "Candlestick", "Alt_Title" : "Vatican Candlestick", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Albert Paley", "Sort_Artist" : "Paley, Albert", "Disp_Dimen" : "111 x 35 in. (281.9 x 88.9 cm)", "Disp_Height" : "111 in.", "Disp_Width" : "35 in.", "Dimen_Extent" : "", "Medium" : "Steel", "Support" : "", "Disp_Medium" : "Mild steel, forged", "Info_Page_Comm" : "", "Dedication" : "Gift of Mr. and Mrs. Daniel G. Schuman", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Per the artist: Vatican representatives approached him in the early 70s about lending a work to an exhibition on art in religion, and he made this piece for inclusion in that exhibition. It later went on tour with other pieces. See Art Committee minutes of May 1983.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/82.44_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/82.44_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/82.44_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/82.44_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12487", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1031, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1031", "Disp_Access_No" : "1987.61", "_AccNumSort1" : "", "Disp_Create_DT" : "1987", "_Disp_Start_Dat" : "1987", "_Disp_End_Date" : "1987", "Disp_Title" : "Convergence", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Albert Paley", "Sort_Artist" : "Paley, Albert", "Disp_Dimen" : "107 x 77 1/2 x 16 1/2 in. (271.8 x 196.9 x 41.9 cm)", "Disp_Height" : "107 in.", "Disp_Width" : "77 1/2 in.", "Dimen_Extent" : "", "Medium" : "Steel", "Support" : "", "Disp_Medium" : "Forged steel, polychromed", "Info_Page_Comm" : "", "Dedication" : "Gift in honor of Herbert W. Vanden Brul made possible by Harris Corporation-RF Communications Division, Vanden Brul family members and friends, and the artist", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Children" : [ { "Rel_Obj_ID" : "3226", "Rel_Obj_Title" : "Convergence" } ], "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/87.61_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/87.61_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/87.61_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/87.61_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12506", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2807, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2807", "Disp_Access_No" : "1973.65", "_AccNumSort1" : "", "Disp_Create_DT" : "1973", "_Disp_Start_Dat" : "1973", "_Disp_End_Date" : "1973", "Disp_Title" : "Fibula 112", "Alt_Title" : "Brooch", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Albert Paley", "Sort_Artist" : "Paley, Albert", "Disp_Dimen" : "5 1/8 x 5 5/16 in. (13 x 13.5 cm)", "Disp_Height" : "5 1/8 in.", "Disp_Width" : "5 5/16 in.", "Dimen_Extent" : "", "Medium" : "Silver", "Support" : "", "Disp_Medium" : "Silver, gold, ivory with rutilated quartz and tourmaline", "Info_Page_Comm" : "", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Jewelry", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/73.65_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/73.65_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/73.65_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/73.65_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "40236", "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" : 1035, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1035", "Disp_Access_No" : "1913.13", "_AccNumSort1" : "", "Disp_Create_DT" : "1914", "_Disp_Start_Dat" : "1914", "_Disp_End_Date" : "1914", "Disp_Title" : "James G. Averell", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "William Ordway Partridge", "Sort_Artist" : "Partridge, William Ordway", "Disp_Dimen" : "22 x 14 1/2 in. (55.9 x 36.8 cm)", "Disp_Height" : "22 in.", "Disp_Width" : "14 1/2 in.", "Dimen_Extent" : "", "Medium" : "Marble", "Support" : "", "Disp_Medium" : "Marble", "Info_Page_Comm" : "", "Dedication" : "Gift of Mrs. James Sibley Watson", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Portrait bust-length in profile", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13.13_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13.13_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13.13_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13.13_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "23161", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "derived from tiff from Seeing America catalogue", "View" : "" } , ] },{ "embark_ID" : 1034, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1034", "Disp_Access_No" : "1913.12", "_AccNumSort1" : "", "Disp_Create_DT" : "1914", "_Disp_Start_Dat" : "1914", "_Disp_End_Date" : "1914", "Disp_Title" : "Memory", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "William Ordway Partridge", "Sort_Artist" : "Partridge, William Ordway", "Disp_Dimen" : "82 1/2 x 26 3/4 x 29 5/8 in. (209.6 x 67.9 x 75.2 cm)", "Disp_Height" : "82 1/2 in.", "Disp_Width" : "26 3/4 in.", "Dimen_Extent" : "overall", "Medium" : "Marble", "Support" : "", "Disp_Medium" : "Marble", "Info_Page_Comm" : "", "Dedication" : "Gift of Mrs. James Sibley Watson", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13.12_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13.12_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13.12_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13.12_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12333", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13.12_R3.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13.12_R3.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13.12_R3.tif", "IIIF_URL": "http://iiif.gallerysystems.com/13.12_R3.tif", "IsPrimary" : "0", "_SurrogateID" : "40466", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "color from original photo in photo files in Archives.", "View" : "" } , ] },{ "embark_ID" : 5222, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5222", "Disp_Access_No" : "1949.80", "_AccNumSort1" : "", "Disp_Create_DT" : "1922", "_Disp_Start_Dat" : "1922", "_Disp_End_Date" : "1922", "Disp_Title" : "Ripe Wheat Field (Reifes Ährenfeld)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Max Pechstein", "Sort_Artist" : "Pechstein, Max", "Disp_Dimen" : "31 7/8 x 39 5/8 in. (81 x 100.6 cm)", "Disp_Height" : "31 7/8 in.", "Disp_Width" : "39 5/8 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Gift of Dr. and Mrs. Rudolph H. Hofheinz in memory of their son Rudolph Hofheinz, by exchange", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "German", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/49.80_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/49.80_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/49.80_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/49.80_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "27626", "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" : 7457, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7457", "Disp_Access_No" : "1983.82", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Polar Bear with Shaman", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Davidee Piungitu", "Sort_Artist" : "Piungitu, Davidee", "Disp_Dimen" : "2 1/4 x 5 3/4 x 12 1/4 in. (5.7 x 14.6 x 31.1 cm)", "Disp_Height" : "2 1/4 in.", "Disp_Width" : "5 3/4 in.", "Dimen_Extent" : "", "Medium" : "Stone", "Support" : "", "Disp_Medium" : "Soapstone", "Info_Page_Comm" : "This piece is relatively recent and may represent an inua or spirit/soul of a bear in human form. A label on the bottom of the piece links it to Canadian Arctic Producers (CAP), a government-initiated cooperative established in 1965 to market the work of the aboriginal people of northern Canada. [Gallery label text, 2009]", "Dedication" : "Gift of Mrs. Harmar Brereton", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "First Nations (Canada)", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/83.82_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/83.82_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/83.82_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/83.82_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "25832", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/83.82_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/83.82_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/83.82_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/83.82_A3.jpg", "IsPrimary" : "0", "_SurrogateID" : "25833", "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" : 7459, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7459", "Disp_Access_No" : "1983.90", "_AccNumSort1" : "", "Disp_Create_DT" : "1976", "_Disp_Start_Dat" : "1976", "_Disp_End_Date" : "1976", "Disp_Title" : "Hunting Scene", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Daniel Quanaluk", "Sort_Artist" : "Quanaluk, Daniel", "Disp_Dimen" : "7 7/8 x 2 3/4 x 13 1/8 in. 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Miller and the Art Patrons Funds", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/62.8_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/62.8_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/62.8_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/62.8_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "36608", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/62.8_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/62.8_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/62.8_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/62.8_A3.jpg", "IsPrimary" : "0", "_SurrogateID" : "36609", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2809, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2809", "Disp_Access_No" : "1958.133", "_AccNumSort1" : "", "Disp_Create_DT" : "1956", "_Disp_Start_Dat" : "1956", "_Disp_End_Date" : "1956", "Disp_Title" : "Pendant", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Svetozar Radakovich", "Sort_Artist" : "Radakovich, Svetozar", "Disp_Dimen" : "16 1/2 x 2 3/4 in. (41.9 x 7 cm)", "Disp_Height" : "16 1/2 in.", "Disp_Width" : "2 3/4 in.", "Dimen_Extent" : "overall", "Medium" : "Silver", "Support" : "", "Disp_Medium" : "Silver and moonstone", "Info_Page_Comm" : "", "Dedication" : "Purchase Prize from The 2nd Exhibition of American Jewelry and Related Objects", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Jewelry", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/58.133_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/58.133_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/58.133_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/58.133_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "18013", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 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" : 1043, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1043", "Disp_Access_No" : "1972.5", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1972", "_Disp_Start_Dat" : "1967", "_Disp_End_Date" : "1977", "Disp_Title" : "Seek for the Self", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Daniel Rhodes", "Sort_Artist" : "Rhodes, Daniel", "Disp_Dimen" : "12 3/4 x 12 x 10 in. (32.4 x 30.5 x 25.4 cm)", "Disp_Height" : "12 3/4 in.", "Disp_Width" : "12 in.", "Dimen_Extent" : "", "Medium" : "Ceramic", "Support" : "", "Disp_Medium" : "Ceramic and fiberglass", "Info_Page_Comm" : "A professor at the Alfred University School of Ceramics, Daniel Rhodes pioneered a technique that embedded fiberglass strips with ceramic, thereby increasing sculptural potential of the medium. Layer by layer, the ‘self’ in the sculpture is simultaneously hidden and revealed. Oct. 2011/Folk Art Case M. Searl", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/72.5_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/72.5_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/72.5_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/72.5_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "36613", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/72.5_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/72.5_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/72.5_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/72.5_A2.jpg", "IsPrimary" : "0", "_SurrogateID" : "36614", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1049, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1049", "Disp_Access_No" : "1994.44", "_AccNumSort1" : "", "Disp_Create_DT" : "1994", "_Disp_Start_Dat" : "1994", "_Disp_End_Date" : "1994", "Disp_Title" : "Two Lines Up Excentric - Twelve Feet", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "George Rickey", "Sort_Artist" : "Rickey, George", "Disp_Dimen" : "231 15/16 x 266 in. (589.2 x 675.6 cm)", "Disp_Height" : "231 15/16 in.", "Disp_Width" : "266 in.", "Dimen_Extent" : "maximum", "Medium" : "Stainless steel", "Support" : "", "Disp_Medium" : "Stainless steel", "Info_Page_Comm" : "", "Dedication" : "Gift of Richard F. Brush", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Children" : [ { "Rel_Obj_ID" : "4150", "Rel_Obj_Title" : "Two Lines [Small Series]" } ], "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/94.44_A6.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/94.44_A6.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/94.44_A6.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/94.44_A6.jpg", "IsPrimary" : "1", "_SurrogateID" : "41499", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Photos on disk entitled MAG Sculpture Garden. No uncorrected masters exist.", "View" : "" } , ] },{ "embark_ID" : 2810, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2810", "Disp_Access_No" : "1958.134", "_AccNumSort1" : "", "Disp_Create_DT" : "1956", "_Disp_Start_Dat" : "1956", "_Disp_End_Date" : "1956", "Disp_Title" : ""Stained Glass" Bracelet", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Ruth S. Roach", "Sort_Artist" : "Roach, Ruth S.", "Disp_Dimen" : "2 in. (5.1 cm)", "Disp_Height" : "2 in.", "Disp_Width" : "", "Dimen_Extent" : "", "Medium" : "Silver", "Support" : "", "Disp_Medium" : "Silver", "Info_Page_Comm" : "", "Dedication" : "Purchase Prize from The 2nd Exhibition of American Jewelry and Related Objects", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Jewelry", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "January 13, 2012: Per information in letters from artist in curatorial file, Marjorie Searl has changed the title of this object from Bracelet to "Stained Glass" Bracelet. 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(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" : 4973, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4973", "Disp_Access_No" : "1962.58", "_AccNumSort1" : "", "Disp_Create_DT" : "1909 (cast 1961)", "_Disp_Start_Dat" : "1909", "_Disp_End_Date" : "1909", "Disp_Title" : "Torso of a Young Woman", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Auguste Rodin", "Sort_Artist" : "Rodin, Auguste", "Disp_Dimen" : "33 3/8 x 18 3/4 x 12 in. 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(64.3 x 49.2 cm)", "Disp_Height" : "25 5/16 in.", "Disp_Width" : "19 3/8 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "paper", "Disp_Medium" : "Oil paint over intaglio print on paper mounted to masonite", "Info_Page_Comm" : "", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "French", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/53.30_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/53.30_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/53.30_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/53.30_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "15703", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "poor", "View" : "" } , ] },{ "embark_ID" : 8962, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/8962", "Disp_Access_No" : "1992.26", "_AccNumSort1" : "", "Disp_Create_DT" : "1964", "_Disp_Start_Dat" : "1964", "_Disp_End_Date" : "1964", "Disp_Title" : "Untitled", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Sadao Watanabe", "Sort_Artist" : "Sadao Watanabe", "Disp_Dimen" : "33 1/4 x 23 1/8 in. (84.4 x 58.8 cm)", "Disp_Height" : "33 1/4 in.", "Disp_Width" : "23 1/8 in.", "Dimen_Extent" : "", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Color stencil", "Info_Page_Comm" : "", "Dedication" : "Gift of Helen Kristal", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "Japanese", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/92.26_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/92.26_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/92.26_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/92.26_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "31222", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Temporary image, not for print or web", "View" : "" } , ] },{ "embark_ID" : 2317, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2317", "Disp_Access_No" : "1975.325.8", "_AccNumSort1" : "", "Disp_Create_DT" : "1972", "_Disp_Start_Dat" : "1972", "_Disp_End_Date" : "1972", "Disp_Title" : "Desert Wreck", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "John Salt", "Sort_Artist" : "Salt, John", "Disp_Dimen" : "25 x 35 1/2 in. (63.5 x 90.2 cm)", "Disp_Height" : "25 in.", "Disp_Width" : "35 1/2 in.", "Dimen_Extent" : "", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Color lithograph", "Info_Page_Comm" : "From the Documenta Portfolio While living and teaching art in America, British artist John Salt created a series of paintings and prints of wrecked cars in an impeccably realistic style. As a Photorealist artist, Salt projects his own photographs onto a surface, and from this projected image he creates his work of art. In technique and subject, Salt’s work represents the camera and the car, two modern machines that have become indispensable and so personally embedded in our lives that they function like extensions of our bodies. [label text for <em>Modern Icon: The Machine As Subject in American Art</em> exhibition, February 3 – March 6, 2012] ", "Dedication" : "The Charles Rand Penney Collection of the Memorial Art Gallery", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "British", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.325.8_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.325.8_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.325.8_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.325.8_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "37626", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2569, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2569", "Disp_Access_No" : "1946.44", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Bowl", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Mary and Edwin Scheier", "Sort_Artist" : "Scheier, Mary and Edwin", "Disp_Dimen" : "6 x 7 1/8 x 7 1/8 in. (15.2 x 18.1 x 18.1 cm)", "Disp_Height" : "6 in.", "Disp_Width" : "7 1/8 in.", "Dimen_Extent" : "", "Medium" : "Clay", "Support" : "", "Disp_Medium" : "Clay", "Info_Page_Comm" : "", "Dedication" : "Purchased through Funds contributed by the Gallery Adult Ceramic Classes", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Ceramics", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/46.44_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/46.44_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/46.44_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/46.44_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "27510", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2811, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2811", "Disp_Access_No" : "1958.135", "_AccNumSort1" : "", "Disp_Create_DT" : "1956", "_Disp_Start_Dat" : "1956", "_Disp_End_Date" : "1956", "Disp_Title" : "Bracelet", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Christian F. Schmidt", "Sort_Artist" : "Schmidt, Christian F.", "Disp_Dimen" : "6 3/4 x 1 7/8 in. (17.1 x 4.8 cm)", "Disp_Height" : "6 3/4 in.", "Disp_Width" : "1 7/8 in.", "Dimen_Extent" : "", "Medium" : "Silver", "Support" : "", "Disp_Medium" : "Silver", "Info_Page_Comm" : "", "Dedication" : "Purchase Prize from The 2nd Exhibition of American Jewelry and Related Objects", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Jewelry", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/58.135_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/58.135_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/58.135_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/58.135_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "24395", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1053, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1053", "Disp_Access_No" : "1970.25", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1910", "_Disp_Start_Dat" : "1905", "_Disp_End_Date" : "1915", "Disp_Title" : "Crested Swans", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "John Scholl", "Sort_Artist" : "Scholl, John", "Disp_Dimen" : "84 1/4 x 33 x 30 1/2 in. (214 x 83.8 x 77.5 cm)", "Disp_Height" : "84 1/4 in.", "Disp_Width" : "33 in.", "Dimen_Extent" : "", "Medium" : "Wood", "Support" : "", "Disp_Medium" : "Wood and paint", "Info_Page_Comm" : "For approximately sixteen years before he died at age 88, John Scholl created over forty imaginative sculptures that he stored in the parlor of his home in Germania, Potter County, Pennsylvania. A builder by trade, Scholl seemed to create these architectural forms as an extension of the decorative fretwork and scrollwork seen on the porches and gables of Victorian homes, many of which were made from pattern book templates. Incorporated into the whimsical creations were traditional European folk art motifs: birds, stars, and sunbursts. Scholl was proud of his work, and enjoyed showing people through the collection; in good weather, he moved some it out into his yard. When he died of pneumonia, contracted after shoveling snow, Crested Swans was one of the pieces that surrounded Scholl's casket during the wake. [Gallery label text, 2002]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/70.25_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/70.25_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/70.25_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/70.25_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12443", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "note that on close examination you can see that the black background is uneven", "View" : "" } , ] },{ "embark_ID" : 2337, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2337", "Disp_Access_No" : "1997.1.10", "_AccNumSort1" : "", "Disp_Create_DT" : "1996", "_Disp_Start_Dat" : "1996", "_Disp_End_Date" : "1996", "Disp_Title" : "Window Moth", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "John T. Scott", "Sort_Artist" : "Scott, John T.", "Disp_Dimen" : "30 x 22 7/16 in. (76.2 x 57 cm)", "Disp_Height" : "30 in.", "Disp_Width" : "22 7/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "[Gallery label text 2012] Born in New Orleans, John T. Scott said that his art training began at home, where he learned embroidery from his mother. He drew upon the city’s rich African-Caribbean culture and musical heritage in creating his abstract sculptures and prints, stating that, “New Orleans is the only city that I’ve been in that if you listen the sidewalks will speak to you.” Scott’s Window Moth is one of eight lithographs by pre-eminent African American artists included in the Resounding Heart Portfolio, published by Hand Graphics Studio, a press founded by Ron Adams in Santa Fe. ", "Dedication" : "Gift of the Chase Manhattan Bank", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/97.1.10_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/97.1.10_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/97.1.10_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/97.1.10_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "36492", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1058, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1058", "Disp_Access_No" : "1968.36", "_AccNumSort1" : "", "Disp_Create_DT" : "1968", "_Disp_Start_Dat" : "1968", "_Disp_End_Date" : "1968", "Disp_Title" : "Converging Cubes", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "William Sellers", "Sort_Artist" : "Sellers, William", "Disp_Dimen" : "72 in. (182.9 cm)", "Disp_Height" : "72 in.", "Disp_Width" : "", "Dimen_Extent" : "", "Medium" : "Steel", "Support" : "", "Disp_Medium" : "Corten steel", "Info_Page_Comm" : "", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/68.36_A6.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/68.36_A6.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/68.36_A6.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/68.36_A6.jpg", "IsPrimary" : "1", "_SurrogateID" : "41494", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Photos on disk entitled MAG Sculpture Garden. No uncorrected masters exist.", "View" : "" } , ] },{ "embark_ID" : 1057, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1057", "Disp_Access_No" : "1967.21", "_AccNumSort1" : "", "Disp_Create_DT" : "1966", "_Disp_Start_Dat" : "1966", "_Disp_End_Date" : "1966", "Disp_Title" : "Six Cubes", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "William Sellers", "Sort_Artist" : "Sellers, William", "Disp_Dimen" : "43 in. (109.2 cm)", "Disp_Height" : "43 in.", "Disp_Width" : "", "Dimen_Extent" : "", "Medium" : "Stainless steel", "Support" : "", "Disp_Medium" : "Stainless steel", "Info_Page_Comm" : "", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/67.21_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/67.21_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/67.21_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/67.21_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "41493", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Photos on disk entitled MAG Sculpture Garden. No uncorrected masters exist.", "View" : "" } , ] },{ "embark_ID" : 3282, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3282", "Disp_Access_No" : "1974.96", "_AccNumSort1" : "", "Disp_Create_DT" : "1931", "_Disp_Start_Dat" : "1931", "_Disp_End_Date" : "1931", "Disp_Title" : "Ballet Mechanique", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Charles Sheeler", "Sort_Artist" : "Sheeler, Charles", "Disp_Dimen" : "10 1/2 x 10 1/4 in. (26.7 x 26 cm)", "Disp_Height" : "10 1/2 in.", "Disp_Width" : "10 1/4 in.", "Dimen_Extent" : "image", "Medium" : "Conte crayon", "Support" : "paper", "Disp_Medium" : "Conte crayon ", "Info_Page_Comm" : "In 1927, Charles Sheeler was commissioned to photograph Henry Ford’s River Rouge car factory outside Detroit to advertise the company’s new Model A car. Ford’s innovations in the assembly line were celebrated for their efficiency, productivity, and ability to produce low-cost consumer goods. Yet the dark underside to this progress was unbearable, dehumanizing work conditions. <em>Ballet Mechanique</em>, based on a photo from Sheeler’s Ford factory series, is a tightly-cropped scene of an industrial system of pipes and metal. By isolating the sleek machinery from actual labor, Sheeler elevates the loud, hot, dangerous factory environment to a cool, sleek, abstract vision of modernity. Sheeler’s style, Precisionism, was a celebration of the technological sublime with its crisp, pure form and industrial themes. Of American artists in the early years of the 1900s, Charles Sheeler made one of the most dramatic breaks from the traditional assumption that beauty could be found in nature alone. [label text for <em>Modern Icon: The Machine As Subject in American Art</em> exhibition, February 3 – March 6, 2012]", "Dedication" : "Gift of Peter Iselin and his sister, Emilie Iselin Wiggin", "Copyright_Type" : "No existing copyright holder", "Disp_Obj_Type" : "Drawing", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/74.96_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/74.96_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/74.96_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/74.96_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12464", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Print master derived 11/23/09 by Lu Harper for Seeing America lesson plans.", "View" : "" } , ] },{ "embark_ID" : 3743, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3743", "Disp_Access_No" : "1974.94", "_AccNumSort1" : "", "Disp_Create_DT" : "1935", "_Disp_Start_Dat" : "1935", "_Disp_End_Date" : "1935", "Disp_Title" : "Totems in Steel", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Charles Sheeler", "Sort_Artist" : "Sheeler, Charles", "Disp_Dimen" : "3 11/16 x 5 1/8 in. (9.4 x 13 cm)", "Disp_Height" : "3 11/16 in.", "Disp_Width" : "5 1/8 in.", "Dimen_Extent" : "image", "Medium" : "Gouache", "Support" : "paper", "Disp_Medium" : "Gouache ", "Info_Page_Comm" : "This image of a New York City construction site is based on a film still from Charles Sheeler’s 1920 film collaboration with photographer Paul Strand, <em>Manhatta</em>. In the ten-minute film, the artists track the dynamism of Manhattan through the course of a day, focusing on the unique pulse and geometry of the city’s machinery, vehicles, and architecture. <em>Manhatta</em> provided Sheeler with numerous images from which he later painted. The title of this painting, <em>Totems in Steel</em>, frames modern engineering, industry, and architecture in quasi-religious terms. Sheeler wrote, “In a period such as ours when only a comparatively few individuals seem to be given to religion, some form other than the Gothic cathedral must be found. Industry concerns the greatest numbers—it may be true, as has been said, that our factories are our substitute for religious expression.” [label text for <em>Modern Icon: The Machine As Subject in American Art</em> exhibition, February 3 – March 6, 2012] ", "Dedication" : "Gift of Peter Iselin and his sister, Emilie Iselin Wiggin", "Copyright_Type" : "No existing copyright holder", "Disp_Obj_Type" : "Watercolor", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/74.94_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/74.94_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/74.94_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/74.94_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "27604", "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" : 21301, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/21301", "Disp_Access_No" : "2021.1", "_AccNumSort1" : "", "Disp_Create_DT" : "2000", "_Disp_Start_Dat" : "2000", "_Disp_End_Date" : "2000", "Disp_Title" : "Tlingit Magic Hat", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Preston Singletary", "Sort_Artist" : "Singletary, Preston", "Disp_Dimen" : "21 x 19 in. (53.3 x 48.3 cm)", "Disp_Height" : "21 in.", "Disp_Width" : "19 in.", "Dimen_Extent" : "overall", "Medium" : "", "Support" : "", "Disp_Medium" : "Glass", "Info_Page_Comm" : "Like all of Preston Singletary’s work, Tlingit Magic Hat fuses the traditional designs of his Native Northwest culture with the modern materials and techniques of contemporary art glass. Transformation themes, shamanism, and basketry patterns are among his inspirations. Singletary based this work on a centuries-old Tlingit design (see photo below), yet here the enhanced crown represents the fin of a killer whale. Singletary started blowing glass directly out of high school and developed his style and approach through practical experience and by working with area artists, both Native and non-Native. Currently a member of the Board of Trustees at the Pilchuck Glass School, his work is included in museum collections throughout the world. [Summer 2015]", "Dedication" : "Gift of Alan Cameros", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Glass", "Creation_Place2" : "Native American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2.2008L_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2.2008L_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2.2008L_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2.2008L_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "27423", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 22244, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/22244", "Disp_Access_No" : "19.2009L", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Prime Minister Inspecting the Volcano at Rabaul", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "John Siune", "Sort_Artist" : "Siune, John", "Disp_Dimen" : "38 x 28 1/4 in. (96.5 x 71.8 cm)", "Disp_Height" : "38 in.", "Disp_Width" : "28 1/4 in.", "Dimen_Extent" : "with frame", "Medium" : "Acrylic", "Support" : "paper", "Disp_Medium" : "Acrylic on paper", "Info_Page_Comm" : "In parts of Papua New Guinea, some people still live traditional lifestyles. Yet in areas like the capital city of Port Moresby, western ways—trucks, helicopters, computers and cellphones—have infiltrated almost all aspects of life. In this painting, John Siune depicts the Prime Minister and other officials inspecting the volcano that destroyed the town of Rabaul in 1994. The stylized heads visible on the side of the helicopter represent these important men. In the foreground, three traditional masked duk duk figures from the local ethnic group run away from the scene. This meeting of old and new is described in the Papua New Guinea language of Tok Pisin in the top left corner. John Siune and the Simbu school of artists follow in the steps of Mattias Kauage. Kauage adapted an art form foreign to his culture (two-dimensional picture paintings) to comment upon contemporary life in Papua New Guinea. For their sales, these artists rely heavily upon western travelers to the capital city of Port Moresby. [Gallery label text, 2009] ", "Dedication" : "On loan from Robert and Nancy Foster", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "Papua New Guinean", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/19.2009L_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/19.2009L_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/19.2009L_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/19.2009L_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "31041", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "This photo is cropped from 19.2009L_I1.jpg for display on web.", "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" : 4007, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4007", "Disp_Access_No" : "1997.35", "_AccNumSort1" : "", "Disp_Create_DT" : "1989", "_Disp_Start_Dat" : "1989", "_Disp_End_Date" : "1989", "Disp_Title" : "Memorial Art Gallery 75th Anniversary", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Edith Lunt Small", "Sort_Artist" : "Small, Edith Lunt", "Disp_Dimen" : "31 1/2 x 73 1/4 x 3 3/4 in. (80 x 186.1 x 9.5 cm)", "Disp_Height" : "31 1/2 in.", "Disp_Width" : "73 1/4 in.", "Dimen_Extent" : "overall", "Medium" : "Acrylic", "Support" : "plywood", "Disp_Medium" : "Acrylic on plywood", "Info_Page_Comm" : "", "Dedication" : "Gift of the Gallery Council", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Key identifying people in piece is kept in the object file.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/97.35_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/97.35_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/97.35_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/97.35_A3.jpg", "IsPrimary" : "1", "_SurrogateID" : "36874", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "On disk labelled MAG 110706", "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" : 4951, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4951", "Disp_Access_No" : "1914.8", "_AccNumSort1" : "", "Disp_Create_DT" : "1910", "_Disp_Start_Dat" : "1910", "_Disp_End_Date" : "1910", "Disp_Title" : "Oxen on the Beach", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Joaquin Sorolla y Bastida", "Sort_Artist" : "Sorolla y Bastida, Joaquin", "Disp_Dimen" : "29 x 43 in. (73.7 x 109.2 cm)", "Disp_Height" : "29 in.", "Disp_Width" : "43 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Sorolla discovered Impressionism during an 1885 visit to Paris and took its revolutionary approach to light and color back to Spain with him. There he developed his own style, characterized by large, strong brushstrokes, and soon his international reputation was established. Sorolla's special ability to render the play of bright sunlight on the sea, on sand, and on figures along the beach has been praised by critics. "Oxen on the Beach," which features all three surfaces, is a brilliant display of Sorolla's talents. [adapted from gallery label text, 1999]", "Dedication" : "Gift of Mrs. James Sibley Watson", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "Spanish", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/14.8_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/14.8_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/14.8_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/14.8_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "14425", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 23268, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/23268", "Disp_Access_No" : "2011.47", "_AccNumSort1" : "", "Disp_Create_DT" : "1962", "_Disp_Start_Dat" : "1962", "_Disp_End_Date" : "1962", "Disp_Title" : "Girl with Parted Lips", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Raphael Soyer", "Sort_Artist" : "Soyer, Raphael", "Disp_Dimen" : "18 x 13 1/8 in. (45.7 x 33.3 cm)", "Disp_Height" : "18 in.", "Disp_Width" : "13 1/8 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "", "Dedication" : "Gift of Diane Ambler, UR class of '71, and Ethan Grossman", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Per Marjorie Searl on December 15, 2011: Title changed from Portrait of a Young Woman to Girl with Parted Lips per Sylvan Cole catalog raisonne, Cole 84.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2011.47_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2011.47_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2011.47_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2011.47_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "37675", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 23271, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/23271", "Disp_Access_No" : "2011.50", "_AccNumSort1" : "", "Disp_Create_DT" : "1982", "_Disp_Start_Dat" : "1982", "_Disp_End_Date" : "1982", "Disp_Title" : "Self Portrait (Know Thyself)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Raphael Soyer", "Sort_Artist" : "Soyer, Raphael", "Disp_Dimen" : "20 1/2 x 16 1/8 in. (52.1 x 41 cm)", "Disp_Height" : "20 1/2 in.", "Disp_Width" : "16 1/8 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "", "Dedication" : "Gift of Diane Ambler, UR class of '71, and Ethan Grossman", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Per Marjorie Searl, December 15, 2011, the title is given on the Hirshhorn Museum website as Self Portrait (Know Thyself).", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2011.50_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2011.50_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2011.50_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2011.50_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "37678", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 23269, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/23269", "Disp_Access_No" : "2011.48", "_AccNumSort1" : "", "Disp_Create_DT" : "1967", "_Disp_Start_Dat" : "1967", "_Disp_End_Date" : "1967", "Disp_Title" : "Self-Portrait", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Raphael Soyer", "Sort_Artist" : "Soyer, Raphael", "Disp_Dimen" : "12 15/16 x 10 7/8 in. (32.9 x 27.7 cm)", "Disp_Height" : "12 15/16 in.", "Disp_Width" : "10 7/8 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "", "Dedication" : "Gift of Diane Ambler, UR class of '71, and Ethan Grossman", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Per Marjorie Searl, this is number 116 in the Sylvan Cole catalog raisonne. Additional Information about this print edition can be found in Art for Every Home: An Illustrated Index of Associated American Artists Prints, Ceramics, and Textile Designs, at http://hdl.handle.net/2097/19686, p. 200, no.1788 and p. 306 note 6", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2011.48_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2011.48_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2011.48_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2011.48_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "37676", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2393, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2393", "Disp_Access_No" : "1975.304", "_AccNumSort1" : "", "Disp_Create_DT" : "1963", "_Disp_Start_Dat" : "1963", "_Disp_End_Date" : "1963", "Disp_Title" : "Self-Portrait", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Raphael Soyer", "Sort_Artist" : "Soyer, Raphael", "Disp_Dimen" : "14 15/16 x 11 in. (38 x 28 cm)", "Disp_Height" : "14 15/16 in.", "Disp_Width" : "11 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Etching", "Info_Page_Comm" : "", "Dedication" : "The Charles Rand Penney Collection of the Memorial Art Gallery", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.304_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.304_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.304_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.304_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "22329", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2392, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2392", "Disp_Access_No" : "1938.37", "_AccNumSort1" : "", "Disp_Create_DT" : "1933", "_Disp_Start_Dat" : "1933", "_Disp_End_Date" : "1933", "Disp_Title" : "Self-Portrait", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Raphael Soyer", "Sort_Artist" : "Soyer, Raphael", "Disp_Dimen" : "17 5/8 x 12 7/8 in. (44.8 x 32.7 cm)", "Disp_Height" : "17 5/8 in.", "Disp_Width" : "12 7/8 in.", "Dimen_Extent" : "", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "", "Dedication" : "Gallery Purchase Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Per Marjorie Searl on December 15, 2011, this is number 26 in Sylvan Cole''s catalog raisonne.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/38.37_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/38.37_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/38.37_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/38.37_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "22331", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 23270, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/23270", "Disp_Access_No" : "2011.49", "_AccNumSort1" : "", "Disp_Create_DT" : "1954", "_Disp_Start_Dat" : "1954", "_Disp_End_Date" : "1954", "Disp_Title" : "Self-Portrait ", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Raphael Soyer", "Sort_Artist" : "Soyer, Raphael", "Disp_Dimen" : "16 1/4 x 12 3/8 in. (41.3 x 31.4 cm)", "Disp_Height" : "16 1/4 in.", "Disp_Width" : "12 3/8 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Color lithograph", "Info_Page_Comm" : "", "Dedication" : "Gift of Diane Ambler, UR class of '71, and Ethan Grossman", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Per Marjorie Searl, December 15, 2011, according to Sylvan Cole''s catalog raisonne, this is number 73, for which 250 were printed with a few hand-colored by the artist, hence perhaps the dating of 1955. These were commissioned by Associated American Artists, New York. Searl changed the name from Self-Portrait in a Blue Shirt to Self-Portrait to conform to the title in the catalog raisonne. ", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2011.49_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2011.49_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2011.49_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2011.49_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "37677", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 23272, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/23272", "Disp_Access_No" : "2011.51", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Veterans Waiting Room", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Raphael Soyer", "Sort_Artist" : "Soyer, Raphael", "Disp_Dimen" : "17 1/2 x 22 3/8 in. (44.5 x 56.8 cm)", "Disp_Height" : "17 1/2 in.", "Disp_Width" : "22 3/8 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Color lithograph", "Info_Page_Comm" : "", "Dedication" : "Gift of Diane Ambler, UR class of '71, and Ethan Grossman", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2011.51_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2011.51_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2011.51_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2011.51_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "37679", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 11817, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/11817", "Disp_Access_No" : "2003.47", "_AccNumSort1" : "", "Disp_Create_DT" : "1975", "_Disp_Start_Dat" : "1975", "_Disp_End_Date" : "1975", "Disp_Title" : "Untitled ", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Kurt Spurey", "Sort_Artist" : "Spurey, Kurt", "Disp_Dimen" : "5 3/4 x 5 x 4 1/2 in. (14.6 x 12.7 x 11.4 cm)", "Disp_Height" : "5 3/4 in.", "Disp_Width" : "5 in.", "Dimen_Extent" : "overall", "Medium" : "Porcelain", "Support" : "", "Disp_Medium" : "Porcelain", "Info_Page_Comm" : "Voted by Creative Workshop Students for "Case for Kids" January, 2012", "Dedication" : "Gift of Analine Hicks", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Ceramics", "Creation_Place2" : "Austrian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2003.47_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2003.47_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2003.47_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2003.47_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "31698", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3751, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3751", "Disp_Access_No" : "1939.8", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1939", "_Disp_Start_Dat" : "1934", "_Disp_End_Date" : "1944", "Disp_Title" : "Fungus", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Harwood Steiger", "Sort_Artist" : "Steiger, Harwood", "Disp_Dimen" : "18 1/2 x 24 in. (47 x 61 cm)", "Disp_Height" : "18 1/2 in.", "Disp_Width" : "24 in.", "Dimen_Extent" : "", "Medium" : "Watercolor", "Support" : "paper", "Disp_Medium" : "Watercolor ", "Info_Page_Comm" : "Harwood Steiger, a master of the watercolor medium, lived for many years in Fairport, NY. Steiger’s industrial landscape is a ramshackle vision. The title, <em>Fungus</em>, implies Steiger’s impression of industry as a growing blight on the landscape. However, the almost-comical characterizations suggest a more harmless than threatening presence. [label text for <em>Modern Icon: The Machine As Subject in American Art</em> exhibition, February 3 – March 6, 2012] ", "Dedication" : "Acquired by exchange through the generosity of Fannie Benjamin", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Watercolor", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/39.8_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/39.8_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/39.8_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/39.8_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "37615", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2688, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2688", "Disp_Access_No" : "1993.28", "_AccNumSort1" : "", "Disp_Create_DT" : "After 1915", "_Disp_Start_Dat" : "1916", "_Disp_End_Date" : "1925", "Disp_Title" : "Sunset Scene", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Tiffany Studios", "Sort_Artist" : "Tiffany Studios", "Disp_Dimen" : "53 1/4 x 23 1/4 x 1 3/16 in. (135.3 x 59.1 x 3 cm)", "Disp_Height" : "53 1/4 in.", "Disp_Width" : "23 1/4 in.", "Dimen_Extent" : "maximum", "Medium" : "Glass", "Support" : "", "Disp_Medium" : "Glass and lead", "Info_Page_Comm" : "A river, the traditional symbol of the voyage between life and death, wends its way to the mountains in this beautiful window. Sunset Scene was one of a number of windows created by Tiffany Studios for Mount Hope Cemetery. It was commissioned by Thomas B. Dunn, a business and community leader who, after making his fortune from the licorice-flavored mouth freshener, Sen Sen, served as State Treasurer and Congressman. Such an elegant memorial window, installed in a diminutive classical temple, speaks to the high social and economic standing of the deceased. For its long-term protection, the window was removed from its original cemetery location near the corner of Fifth Avenue and Grove Avenue and donated by the Dunn family to the Memorial Art Gallery. [Gallery label text, 2002] ", "Dedication" : "Given in memory of Mr. and Mrs. Thomas B. Dunn by their family", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Glass", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/93.28_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/93.28_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/93.28_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/93.28_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12521", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "_P2 is cropped & at a smaller resolution.", "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" : 7838, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7838", "Disp_Access_No" : "1974.78", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Yam Mask", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Abelam", "Sort_Artist" : "Unknown, Abelam", "Disp_Dimen" : "11 3/4 x 12 1/4 x 2 1/4 in. (29.8 x 31.1 x 5.7 cm)", "Disp_Height" : "11 3/4 in.", "Disp_Width" : "12 1/4 in.", "Dimen_Extent" : "", "Medium" : "Grasses", "Support" : "", "Disp_Medium" : "Grass, pigment", "Info_Page_Comm" : "Abelam yam masks were never worn by humans. They are so small because they were made to adorn the long yams grown by the Abelam people of Papua New Guinea. These long yams, which were not eaten, grow up to 6-9 feet and were exchanged between men as a form of community building. An Abelam man’s prestige was measured in direct proportion to the size of his yams. Special long yams with anthropomorphic features were considered living supernatural beings and were lavishly decorated with paint, feathers, shells, leaves, and masks, and then publicly displayed. The interlacing between solid bands refers to the caterpillar found on yam vines. [Gallery label text, 2009]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "New Guinean", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/74.78_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/74.78_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/74.78_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/74.78_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "26803", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1128, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1128", "Disp_Access_No" : "1985.22", "_AccNumSort1" : "", "Disp_Create_DT" : "Late 19th Century - early 20th Century", "_Disp_Start_Dat" : "1867", "_Disp_End_Date" : "1932", "Disp_Title" : "Optometrist's Trade Sign", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, American", "Sort_Artist" : "Unknown, American", "Disp_Dimen" : "17 3/4 x 30 1/2 in. (45.1 x 77.5 cm)", "Disp_Height" : "17 3/4 in.", "Disp_Width" : "30 1/2 in.", "Dimen_Extent" : "", "Medium" : "Wood", "Support" : "", "Disp_Medium" : "Wood, iron and paint", "Info_Page_Comm" : "", "Dedication" : "Given in honor of Isabel Herdle's 80th birthday by a group of her friends", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Children" : [ { "Rel_Obj_ID" : "12753", "Rel_Obj_Title" : "Better Things - Introduction, viii, ix" } ], "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/85.22_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/85.22_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/85.22_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/85.22_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "13889", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 12646, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/12646", "Disp_Access_No" : "2004.27", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Basket (Olla)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Apache", "Sort_Artist" : "Unknown, Apache", "Disp_Dimen" : "18 x 11 1/4 in. (45.7 x 28.6 cm)", "Disp_Height" : "18 in.", "Disp_Width" : "11 1/4 in.", "Dimen_Extent" : "", "Medium" : "Grasses", "Support" : "", "Disp_Medium" : "Grasses, dyes", "Info_Page_Comm" : "The Apache people have long been known for their exquisite basket work. Women made the baskets from thin sticks of willow, cottonwood, or sumac which they collected, soaked and then stitched together. Color was added with a variety of natural dyes. This large olla, or jar-shaped basket, is decorated with human, animal and geometric forms. Made for sale, it took a highly skilled weaver to manage the geometric patterns and designs on such a large basket, which required many months to complete and would have been highly prized. [Gallery label text, 2009] ", "Dedication" : "Gift of Mr. and Mrs. Gorham Parks", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Basketry", "Creation_Place2" : "Native American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2004.27_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2004.27_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2004.27_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2004.27_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "26555", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 7824, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7824", "Disp_Access_No" : "1970.82", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Hook Figure (Yipwon)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Arambak", "Sort_Artist" : "Unknown, Arambak", "Disp_Dimen" : "85 in. (215.9 cm)", "Disp_Height" : "", "Disp_Width" : "85 in.", "Dimen_Extent" : "", "Medium" : "Wood", "Support" : "", "Disp_Medium" : "Wood, shell", "Info_Page_Comm" : "This hook figure, or yipwon, is a 20th century reproduction of old, powerful figures believed to guide and assist tribes in hunting and warfare. The hooks represent ribs which surround the central element of the heart. The large yipwon were kept in the sacred space of the Men’s House where it acted as a vessel to house primordial ancestral spirits. These spirits were called into the yipwon prior to battle by a senior man who activated the figure by rubbing it with powerful substances. If the battle was a success, returning warriors smeared it with the blood of their victims. Particularly effective yipwon were handed down for generations. [Gallery label text, 2009]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "Papua New Guinean", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/70.82_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/70.82_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/70.82_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/70.82_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "26795", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4902, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4902", "Disp_Access_No" : "1970.62", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Female Figure with Child", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Asante", "Sort_Artist" : "Unknown, Asante", "Disp_Dimen" : "11 1/4 x 3 3/4 x 3 7/8 in. (28.6 x 9.5 x 9.8 cm)", "Disp_Height" : "11 1/4 in.", "Disp_Width" : "3 3/4 in.", "Dimen_Extent" : "", "Medium" : "Wood", "Support" : "", "Disp_Medium" : "Wood, iron, sacrificial materials", "Info_Page_Comm" : "This is likely a representation of the Asante Queen Mother, a female relative of the king who has the authority to nominate his successor. The infant’s dependence on the mother for nourishment and protection symbolizes the kingdom’s dependence upon the Queen Mother for guidance. Associated with earth goddesses, agriculture and fertility, this Queen Mother figure was probably kept as part of a fertility shrine where sacrificial offerings were made (remnants of eggshell still remain on her surface). Scholars are confused by the weapon in the mother’s hand and think perhaps it was added at a later date. [Gallery label text, 2009]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "Ghanaian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/70.62_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/70.62_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/70.62_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/70.62_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "25515", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/70.62_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/70.62_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/70.62_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/70.62_A2.jpg", "IsPrimary" : "0", "_SurrogateID" : "25516", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/70.62_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/70.62_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/70.62_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/70.62_A3.jpg", "IsPrimary" : "0", "_SurrogateID" : "25517", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4906, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4906", "Disp_Access_No" : "1984.20", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Fertility Doll (Akuaba)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Asante", "Sort_Artist" : "Unknown, Asante", "Disp_Dimen" : "10 x 3 5/8 in. (25.4 x 9.2 cm)", "Disp_Height" : "10 in.", "Disp_Width" : "3 5/8 in.", "Dimen_Extent" : "", "Medium" : "Wood", "Support" : "", "Disp_Medium" : "Wood and beads", "Info_Page_Comm" : "Fertility is a universal human concern that has long been a central issue in Africa where the infant mortality rate remains high to this day. An akuaba is a fertility talisman meant to aid an Asante woman yearning to become a mother. Akuaba are affectionately bathed, dressed, fed and carried by women as they would a living child. Their slight, flat shape is designed to be carried on a woman’s back in her cloth wrapper. When the woman’s child survives childhood, the akuaba is sometimes placed in a shrine as an offering of thanks to the god responsible. Almost all of these fertility dolls are female as the Asante are a matrilineal society and most women wish for daughters to carry on their family line. [Gallery label text, 2009]", "Dedication" : "Gift of Mrs. Nathaniel T. Whitcomb", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "Ghanaian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Note that incoming 6015 lists "Ashanti fertility dolls," plural, coming from Harris Prior for loan and ultimately gift to the permanent collection-- were there others besides this one?", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/84.20_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/84.20_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/84.20_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/84.20_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "25525", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/84.20_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/84.20_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/84.20_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/84.20_A3.jpg", "IsPrimary" : "0", "_SurrogateID" : "25526", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4901, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4901", "Disp_Access_No" : "1967.31", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Fertility Doll (Akuaba)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Asante", "Sort_Artist" : "Unknown, Asante", "Disp_Dimen" : "12 3/8 x 4 7/8 in. (31.4 x 12.4 cm)", "Disp_Height" : "12 3/8 in.", "Disp_Width" : "4 7/8 in.", "Dimen_Extent" : "", "Medium" : "Wood", "Support" : "", "Disp_Medium" : "Wood", "Info_Page_Comm" : "Fertility is a universal human concern that has long been a central issue in Africa where the infant mortality rate remains high to this day. An akuaba is a fertility talisman meant to aid an Asante woman yearning to become a mother. The horned hairdo of this akuaba is that of a priestess and indicates the child, if allowed to live, will become a priestess dedicated to a goddess. Normally it is not necessary to dedicate a child; this is more common among older women who had already lost several children. Akuaba are affectionately bathed, dressed, fed and carried by women as they would a living child. Their slight, flat shape is designed to be carried on a woman’s back in her cloth wrapper. When the woman’s child survives childhood, the akuaba is sometimes placed in a shrine as an offering of thanks to the god responsible. Almost all of these fertility dolls are female as the Asante are a matrilineal society and most women wish for daughters to carry on their family line. [Gallery label text, 2009]", "Dedication" : "General Acquisitions Fund", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "Ghanaian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/67.31_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/67.31_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/67.31_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/67.31_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "25513", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/67.31_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/67.31_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/67.31_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/67.31_A3.jpg", "IsPrimary" : "0", "_SurrogateID" : "25514", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4899, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4899", "Disp_Access_No" : "1953.76.2", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Goldweight", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Asante", "Sort_Artist" : "Unknown, Asante", "Disp_Dimen" : "1 1/4 x 1 3/8 x 5/8 in. (3.2 x 3.5 x 1.6 cm)", "Disp_Height" : "1 1/4 in.", "Disp_Width" : "1 3/8 in.", "Dimen_Extent" : "", "Medium" : "Brass", "Support" : "", "Disp_Medium" : "Brass", "Info_Page_Comm" : "Fueled by rich deposits of gold, the Asante engaged in extensive trade relations with European and African nations. Buyers and vendors used brass weights such as these to counterbalance gold dust on scales. Each Asante family had their own set of brass pieces. Unsurprisingly the vendors’ weights were often too heavy and the buyer’s weights too light. Many goldweights represented local proverbs with social or moral meanings that served as ethical reminders during the sometimes fraught ordeal of gold-weighing. If this weight was associated with a proverb, the cultural association has been lost to us. [Gallery label text, 2009]", "Dedication" : "R. T. Miller Fund", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Metalwork", "Creation_Place2" : "Ghanaian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/53.76.2_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/53.76.2_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/53.76.2_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/53.76.2_A2.jpg", "IsPrimary" : "0", "_SurrogateID" : "29251", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Temporary image, do not use for web or print", "View" : "" } , ] },{ "embark_ID" : 4891, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4891", "Disp_Access_No" : "1953.76.1", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Goldweight", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Asante", "Sort_Artist" : "Unknown, Asante", "Disp_Dimen" : "1 5/8 x 1 1/8 x 1/2 in. (4.1 x 2.9 x 1.3 cm)", "Disp_Height" : "1 5/8 in.", "Disp_Width" : "1 1/8 in.", "Dimen_Extent" : "", "Medium" : "Brass", "Support" : "", "Disp_Medium" : "Brass", "Info_Page_Comm" : "Fueled by rich deposits of gold, the Asante engaged in extensive trade relations with European and African nations. Buyers and vendors used brass weights such as these to counterbalance gold dust on scales. Each Asante family had their own set of brass pieces. Unsurprisingly the vendors’ weights were often too heavy and the buyer’s weights too light. Many goldweights represented local proverbs with social or moral meanings that served as ethical reminders during the sometimes fraught ordeal of gold-weighing. If this weight was associated with a proverb, the cultural association has been lost to us. [Gallery label text, 2009]", "Dedication" : "R. T. Miller Fund", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Metalwork", "Creation_Place2" : "Ghanaian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/53.76.1_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/53.76.1_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/53.76.1_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/53.76.1_A2.jpg", "IsPrimary" : "0", "_SurrogateID" : "29250", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Temporary image, do not use for web or print", "View" : "" } , ] },{ "embark_ID" : 4900, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4900", "Disp_Access_No" : "1962.24", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Stool", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Asante", "Sort_Artist" : "Unknown, Asante", "Disp_Dimen" : "10 3/4 x 18 x 9 in. (27.3 x 45.7 x 22.9 cm)", "Disp_Height" : "10 3/4 in.", "Disp_Width" : "18 in.", "Dimen_Extent" : "", "Medium" : "Wood", "Support" : "", "Disp_Medium" : "Wood", "Info_Page_Comm" : "In many African cultures, objects (such as carved figures and masks) can act as physical surrogates for spirits wishing to communicate and interact with the living. Stools are central objects in Asante spirituality. The Asante believe the stool used in life houses the owner’s soul in death. This is based in the story of The Golden Stool that descended from the heavens to land in (and thereby legitimize) the lap of the first Asante king. The Asante saying goes, “A man with no stool is a man with no dignity.” [Gallery label text, 2009] The treatment of stools as sacred objects is unique to the Asante kingdom - an Akan empire founded by the great leader Osei Tutu in the late seventeenth century. The tradition began with the great Golden Stool which legend relates floated down from the sky and fell in the lap of Osei Tutu. To this day, the Golden Stool stands as a representation of the soul, or spirit (sunsum) of the Asante people. It is not a throne, but rather a powerful, sacred object, that is guarded by each successive king and forbidden to be sat upon or to touch the ground. The most lavish stools are rewarded to important chiefs or members of the royal court, but commoners also maintain more modest stools. The stool is said to absorb some of the sunsum, or spirit, of his owner. Such an intimate link between owner and stool is reflected in the treatment of the stool after the owner's death. A high official's stool is linked to his role in office and when the owner dies, it is said that "a stool has fallen." The stool is then "blackened" and kept on its side in a separate "stool room." The soul of the ancestor is said to be embodied in the blackened stool. [Gallery label text]", "Dedication" : "Anonymous gift", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Woodwork", "Creation_Place2" : "Ghanaian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/62.24_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/62.24_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/62.24_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/62.24_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "25502", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4910, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4910", "Disp_Access_No" : "1969.107", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Crest Mask: Male Antelope (Chi Wara)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Bamana", "Sort_Artist" : "Unknown, Bamana", "Disp_Dimen" : "40 9/16 x 2 15/16 x 13 9/16 in. (103 x 7.5 x 34.5 cm)", "Disp_Height" : "40 9/16 in.", "Disp_Width" : "2 15/16 in.", "Dimen_Extent" : "overall", "Medium" : "Wood", "Support" : "", "Disp_Medium" : "Wood, fiber, and metal", "Info_Page_Comm" : "In many cultures, gods and spirits take the form of animals. Selected for their physical or behavioral traits, features of different animals are combined to create mythical creatures whose symbolic powers are greater than those of ordinary beasts. This antelope crest mask combines the curved horns of an antelope, the curious snout and scales of a pangolin (a kind of anteater) and the squat body of an aardvark—all animals that dig up the earth. This makes the mask a fitting representations of Chi Wara, the supernatural being the Bamana believe taught humans to farm. Chi wara masks were worn in male/female pairs during dance performances in the fields that taught and encouraged good farming. Today, because of conversion to Islam and a variety of social changes due to westernization, the Chi Wara masquerade is now performed for entertainment and cultural pride. The small pieces of red cloth attached to the snout of this male Chi Wara may have originated in the woolen bandages imported by the French during the First World War. In Bamana culture, red is the color of danger and is often restricted to men of certain status. [Gallery label text, 2009] ", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "Malian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/69.107_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/69.107_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/69.107_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/69.107_A3.jpg", "IsPrimary" : "1", "_SurrogateID" : "28367", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "On disk 090113", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/69.107_A4.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/69.107_A4.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/69.107_A4.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/69.107_A4.jpg", "IsPrimary" : "0", "_SurrogateID" : "28368", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "On disk 090113", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/69.107_A6.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/69.107_A6.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/69.107_A6.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/69.107_A6.jpg", "IsPrimary" : "0", "_SurrogateID" : "28370", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "At the left, with 93.14 on the right. On disk 090113", "View" : "" } , ] },{ "embark_ID" : 851, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/851", "Disp_Access_No" : "1993.14", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Crest Mask: Female Antelope (Chi Wara)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Bamana", "Sort_Artist" : "Unknown, Bamana", "Disp_Dimen" : "30 1/2 x 7 5/8 x 8 in. (77.5 x 19.4 x 20.3 cm)", "Disp_Height" : "30 1/2 in.", "Disp_Width" : "7 5/8 in.", "Dimen_Extent" : "overall", "Medium" : "Wood", "Support" : "", "Disp_Medium" : "Wood, cane, shell, yarn and brass", "Info_Page_Comm" : "In many cultures, gods and spirits take the form of animals. Selected for their physical or behavioral traits, features of different animals are combined to create mythical creatures whose symbolic powers are greater than those of ordinary beasts. This antelope crest mask combines the curved horns of an antelope, the curious snout and scales of a pangolin (a kind of anteater) and the squat body of an aardvark—all animals that dig up the earth. This makes them fitting representations of Chi Wara, the supernatural being the Bamana believe taught humans to farm. The masks were worn in male/female pairs during dance performances in the fields that taught and encouraged good farming. Today, because of conversion to Islam and a variety of social changes due to westernization, the Chi Wara masquerade is now performed for entertainment and cultural pride. [Gallery label text, 2009] ", "Dedication" : "Gift of Isabel C. Herdle", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "Malian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/93.14_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/93.14_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/93.14_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/93.14_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "28376", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "On disk 090113", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/93.14_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/93.14_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/93.14_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/93.14_A3.jpg", "IsPrimary" : "0", "_SurrogateID" : "28377", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "On disk 090113", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/93.14_A5.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/93.14_A5.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/93.14_A5.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/93.14_A5.jpg", "IsPrimary" : "0", "_SurrogateID" : "28379", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "On the right, with 69.107 on the left. On disk 090113", "View" : "" } , ] },{ "embark_ID" : 4909, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4909", "Disp_Access_No" : "1969.71", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Door Lock", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Bamana", "Sort_Artist" : "Unknown, Bamana", "Disp_Dimen" : "26 x 16 5/8 x 3 1/4 in. (66 x 42.2 x 8.3 cm)", "Disp_Height" : "26 in.", "Disp_Width" : "16 5/8 in.", "Dimen_Extent" : "", "Medium" : "Wood", "Support" : "", "Disp_Medium" : "Wood and metal", "Info_Page_Comm" : "This is a door lock of the Bamana people. Inside the lock, metal pins attach the horizontal and vertical elements. A metal key must be inserted into the hole between the creature’s shoulders to release the pins in the lock. But in truth, the functional value of a Bamana door lock is secondary to its spiritual value. An individual determined to break into a house with a sculpted door lock would find it an easy matter. Bamana door locks are primarily meant to protect a home against malevolent spirit forces seeking entry. This lock is in the form of a crocodile or water iguana. In Bamana mythology, these lizards are representatives of Faro, a powerful and beneficent deity who protects against sorcery. [Gallery label text, 2009]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "Malian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/69.71_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/69.71_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/69.71_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/69.71_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "26791", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4915, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4915", "Disp_Access_No" : "1969.33", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Female Figure (Blolo Bla or Asie Usu)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Baule", "Sort_Artist" : "Unknown, Baule", "Disp_Dimen" : "17 1/8 x 3 1/8 x 3 in. (43.5 x 7.9 x 7.6 cm)", "Disp_Height" : "17 1/8 in.", "Disp_Width" : "3 1/8 in.", "Dimen_Extent" : "", "Medium" : "Wood", "Support" : "", "Disp_Medium" : "Wood", "Info_Page_Comm" : "The Baule believe each person has a spirit spouse (husband=blolo bian, wife=blolo bla). The presence of a troublesome, jealous spirit spouse can result in illness or misfortune. A carving can be commissioned to ensure the spirit’s protection and good will. These extremely private sculptures are kept hidden in the owner’s bedroom where they are attended to and anointed with oil. Raised scarification patterns represent Baule standards of beauty and identity, while their contained posture and introspective expression reflect social virtues of tradition and decorum. Bush spirit figures (asye usu) are carved when an uncivilized bush spirit forms an attachment to a human and makes trouble in their life. Asye usu can only be appeased by a sculpted figure kept enshrined and placated with offerings that, over time accumulate in a thick crust. This surface (often cleaned off when the sculpture is sold) is the only way to distinguish between a spirit spouse and a bush spirit, as in all other ways they look the same. For this reason, it is impossible to know if this figure is a spirit spouse or a bush spirit figure. [Gallery label text, 2009] ", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "Ivoirian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/69.33_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/69.33_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/69.33_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/69.33_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "31031", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4916, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4916", "Disp_Access_No" : "1971.19", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Male Figure (Blolo Bian or Asie Usu)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Baule", "Sort_Artist" : "Unknown, Baule", "Disp_Dimen" : "18 x 4 x 4 1/4 in. (45.7 x 10.2 x 10.8 cm)", "Disp_Height" : "18 in.", "Disp_Width" : "4 in.", "Dimen_Extent" : "", "Medium" : "Wood", "Support" : "", "Disp_Medium" : "Wood", "Info_Page_Comm" : "The Baule believe each person has a spirit spouse (husband=blolo bian, wife=blolo bla). The presence of a troublesome, jealous spirit spouse can result in illness or misfortune. A carving can be commissioned to ensure the spirit’s protection and good will. These extremely private sculptures are kept hidden in the owner’s bedroom where they are attended to and anointed with oil. Raised scarification patterns represent Baule standards of beauty and identity, while their contained posture and introspective expression reflect social virtues of tradition and decorum. Bush spirit figures (asye usu) are carved when an uncivilized bush spirit forms an attachment to a human and makes trouble in their life. Asye usu can only be appeased by a sculpted figure kept enshrined and placated with offerings that, over time accumulate in a thick crust. This surface (often cleaned off when the sculpture is sold) is the only way to distinguish between a spirit spouse and a bush spirit, as in all other ways they look the same. For this reason, it is impossible to know if this figure is a spirit spouse or a bush spirit figure. [Gallery label text, 2009]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "Ivoirian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/71.19_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/71.19_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/71.19_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/71.19_A2.jpg", "IsPrimary" : "0", "_SurrogateID" : "25518", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/71.19_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/71.19_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/71.19_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/71.19_A3.jpg", "IsPrimary" : "1", "_SurrogateID" : "25519", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/71.19_A4.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/71.19_A4.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/71.19_A4.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/71.19_A4.jpg", "IsPrimary" : "0", "_SurrogateID" : "25520", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4912, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4912", "Disp_Access_No" : "1971.20", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Crest Mask", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Cameroon", "Sort_Artist" : "Unknown, Cameroon", "Disp_Dimen" : "15 9/16 x 14 3/4 x 14 7/8 in. (39.5 x 37.5 x 37.8 cm)", "Disp_Height" : "15 9/16 in.", "Disp_Width" : "14 3/4 in.", "Dimen_Extent" : "overall", "Medium" : "Wood", "Support" : "", "Disp_Medium" : "Wood", "Info_Page_Comm" : "This royal mask would have been performed at night; the animals around its crown are bats, nocturnal animals. The angular forms on the openwork cap reference the Cameroon brown spider which is associated with the high status of kings and the power of divination. This large spider is a member of the tarantula family and lives in the ground near the base of trees. In Cameroon the sacred earth spider has supernatural wisdom and serves as intermediary between the living and the buried dead. It is through these spiders that Cameroon diviners communicate with their ancestors. Crest Masks are different than face masks in that they are worn atop the head, rather than in front of the face. The dancer wearing this mask would have had his face concealed under a mask of see-through fabric. The rest of his body would have been covered in a costume of cloth. [Gallery label text, 2009] ", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "Cameroonian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/71.20_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/71.20_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/71.20_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/71.20_A3.jpg", "IsPrimary" : "1", "_SurrogateID" : "31039", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 7383, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7383", "Disp_Access_No" : "1970.24", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Face Mask (Bu Gle)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Dan", "Sort_Artist" : "Unknown, Dan", "Disp_Dimen" : "10 x 6 1/2 x 4 1/4 in. (25.4 x 16.5 x 10.8 cm)", "Disp_Height" : "10 in.", "Disp_Width" : "6 1/2 in.", "Dimen_Extent" : "", "Medium" : "Wood", "Support" : "", "Disp_Medium" : "Wood, metal, pigment, sacrificial materials", "Info_Page_Comm" : "To the Dan, a carved mask holds no power until it has been activated. A nail in the top of the forehead is sometimes a sign of spiritual activation, animating a previously inanimate object. The nail in this mask might also have functioned simply to secure pieces of the dance costume to the mask. The most important art to the Dan are the masks that embody powerful spiritual forces called gle. These wild, unpredictable bush spirits yearn to participate in the ordered realm of the village. Bu gle are war masks. Their bulging eyes and sharp angular features speak of an aggressive nature that is reflected in a rough and vigorous dancing style. [Gallery label text, 2009] ", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "Ivoirian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/70.24_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/70.24_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/70.24_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/70.24_A2.jpg", "IsPrimary" : "0", "_SurrogateID" : "26793", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/70.24_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/70.24_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/70.24_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/70.24_A3.jpg", "IsPrimary" : "1", "_SurrogateID" : "28372", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "On disk 090113", "View" : "" } , ] },{ "embark_ID" : 7381, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7381", "Disp_Access_No" : "1969.69", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Face Mask (Gegon)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Dan", "Sort_Artist" : "Unknown, Dan", "Disp_Dimen" : "26 1/8 x 6 x 7 3/4 in. (66.4 x 15.2 x 19.7 cm)", "Disp_Height" : "26 1/8 in.", "Disp_Width" : "6 in.", "Dimen_Extent" : "", "Medium" : "Wood", "Support" : "", "Disp_Medium" : "Wood, raffia fiber", "Info_Page_Comm" : "Gegon is the bird masquerade; the dancer wears a tall cylindrical hat covered with feathers and mimes the pecking or flying movements of birds. In Dan mythology the toucan bird was the first being created and the bringer of oil palm, an important food source for the Dan. [Gallery label text, 2009]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "Ivoirian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/69.69_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/69.69_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/69.69_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/69.69_A3.jpg", "IsPrimary" : "1", "_SurrogateID" : "28366", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "On disk 090113", "View" : "" } , ] },{ "embark_ID" : 7380, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7380", "Disp_Access_No" : "1969.21", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Face Mask with Hinged Jaw (Bu gle)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Dan", "Sort_Artist" : "Unknown, Dan", "Disp_Dimen" : "12 x 5 3/4 x 4 1/2 in. (30.5 x 14.6 x 11.4 cm)", "Disp_Height" : "12 in.", "Disp_Width" : "5 3/4 in.", "Dimen_Extent" : "", "Medium" : "Wood", "Support" : "", "Disp_Medium" : "Wood, metal, monkey fur, sacrificial materials", "Info_Page_Comm" : "This mask originally had a hinged jaw that has broken off and is now covered with a patch of monkey fur. Masks like this are believed to embody spiritual beings capable of settling disputes with clear impartiality. By clattering the upper and lower jaw together the mask voices his judgments. The metal eye rims obscure the human eyes beneath and enhance an already penetrating glare. The thick crust visible on the surface is the result of sacrificial materials that have been “fed” to the bu gle – an appropriate way to control the powers of the mask. [Gallery label text, 2009]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "Ivoirian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/69.21_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/69.21_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/69.21_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/69.21_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "26789", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 7385, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7385", "Disp_Access_No" : "1970.63", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Granary Door or Shutter", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Dogon", "Sort_Artist" : "Unknown, Dogon", "Disp_Dimen" : "34 1/2 x 24 1/2 x 4 in. (87.6 x 62.2 x 10.2 cm)", "Disp_Height" : "34 1/2 in.", "Disp_Width" : "24 1/2 in.", "Dimen_Extent" : "", "Medium" : "Wood", "Support" : "", "Disp_Medium" : "Wood and iron", "Info_Page_Comm" : "For hundreds of years the Dogon have lived along a very steep cliff called the Bandiagara Escarpment in buildings made of clay with thatch roofs. Doors like this, still in use by the Dogon, secure access to the variety of food stuffs stored in their granary buildings. The repetitive shapes on this door are stylized representations of male and female ancestors, and the cone-shaped elements on the left refer to fertility and the female breast. This imagery encourages abundance in life and crops and reflects values held by agricultural communities. [Gallery label text, 2009]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Woodwork", "Creation_Place2" : "Malian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/70.63_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/70.63_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/70.63_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/70.63_A2.jpg", "IsPrimary" : "0", "_SurrogateID" : "26794", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/70.63_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/70.63_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/70.63_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/70.63_A3.jpg", "IsPrimary" : "1", "_SurrogateID" : "28373", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "On disk 090113", "View" : "" } , ] },{ "embark_ID" : 7425, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7425", "Disp_Access_No" : "1970.21", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Face Mask", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Dyimini", "Sort_Artist" : "Unknown, Dyimini", "Disp_Dimen" : "13 3/8 x 4 7/8 in. (34 x 12.4 cm)", "Disp_Height" : "13 3/8 in.", "Disp_Width" : "4 7/8 in.", "Dimen_Extent" : "", "Medium" : "Wood", "Support" : "", "Disp_Medium" : "Wood, pigment", "Info_Page_Comm" : "Dyimini masquerade functions within Poro, the men’s secret association that provides the traditional educational, religious, and social training for young men. Masks used in Poro are restricted to men; for the most part, women are forbidden to see and use these carvings and to learn the secrets of this powerful society. The mask’s linear scarification patterns and elaborate hairstyle are expressions of traditional Dyimini ideals of beauty. The raised serrated edge that frames the face depicts a stylized beard, a symbol of wisdom and authority achieved with age and experience. [Gallery label text, 2009]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "Ivoirian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/70.21_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/70.21_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/70.21_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/70.21_A3.jpg", "IsPrimary" : "1", "_SurrogateID" : "28371", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "On disk 090113", "View" : "" } , ] },{ "embark_ID" : 11299, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/11299", "Disp_Access_No" : "1977.203", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Snow Beater", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Eskimo or Inuit", "Sort_Artist" : "Unknown, Eskimo or Inuit", "Disp_Dimen" : "19 3/4 x 4 1/8 x 1/16 in. (50.2 x 10.5 x 0.2 cm)", "Disp_Height" : "19 3/4 in.", "Disp_Width" : "4 1/8 in.", "Dimen_Extent" : "maximum", "Medium" : "Wood", "Support" : "", "Disp_Medium" : "Wood", "Info_Page_Comm" : "Snow beaters were used to remove snow from clothing before going indoors. An important accessory in the Arctic, they helped to keep clothing from deteriorating in the humid atmosphere inside. Due to the limited availability of wood in the region, most snow beaters were carved out of ivory and are much narrower than the wooden one on display here. However, groups that lived near the mouths of rivers in the arctic (primarily Alaska) would have access to driftwood, as would Yupik Eskimos living along the lower reaches of the Yukon and Kuskokwim Rivers where there were stands of trees. [Gallery label text, 2009]", "Dedication" : "Anonymous gift", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Woodwork", "Creation_Place2" : "Native American or First Nations (Canada)", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/77.203_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/77.203_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/77.203_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/77.203_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "26579", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 7345, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7345", "Disp_Access_No" : "1967.64", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Bracelet", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Fur", "Sort_Artist" : "Unknown, Fur", "Disp_Dimen" : "1 5/8 x 3 1/4 x 3 1/4 in. (4.1 x 8.3 x 8.3 cm)", "Disp_Height" : "1 5/8 in.", "Disp_Width" : "3 1/4 in.", "Dimen_Extent" : "", "Medium" : "Ivory", "Support" : "", "Disp_Medium" : "Ivory", "Info_Page_Comm" : "", "Dedication" : "Gift of Frans Wildenhain in memory of Marjorie Wildenhain", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Jewelry", "Creation_Place2" : "Sudanese", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/67.64_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/67.64_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/67.64_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/67.64_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "31038", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 7389, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7389", "Disp_Access_No" : "1953.75.2", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Heddle Pulley", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Guro", "Sort_Artist" : "Unknown, Guro", "Disp_Dimen" : "8 3/8 in. (21.3 cm)", "Disp_Height" : "8 3/8 in.", "Disp_Width" : "", "Dimen_Extent" : "", "Medium" : "Wood", "Support" : "", "Disp_Medium" : "Wood", "Info_Page_Comm" : "Hand looms are traditionally used by West African men in weaving narrow-strips of cloth. While the heddle pulley is a crucial functional element of the loom, the elaborately carved figure is not. These decorative figures, which fell out of fashion at the end of the last century, were made beautiful simply for the delight and pleasure of the weaver. The human compulsion to beautify functional objects is explained simply by a Guro artist who said, “We cannot live without such beautiful things.” [Gallery label text, 2009]", "Dedication" : "R. T. Miller Fund", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Woodwork", "Creation_Place2" : "Ivoirian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/53.75.2_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/53.75.2_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/53.75.2_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/53.75.2_A3.jpg", "IsPrimary" : "0", "_SurrogateID" : "25499", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/53.75.2_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/53.75.2_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/53.75.2_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/53.75.2_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "25498", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/53.75.2_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/53.75.2_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/53.75.2_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/53.75.2_A1.jpg", "IsPrimary" : "0", "_SurrogateID" : "25497", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 7387, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7387", "Disp_Access_No" : "1953.75.1", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Heddle Pulley", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Guro", "Sort_Artist" : "Unknown, Guro", "Disp_Dimen" : "6 1/4 in. (15.9 cm)", "Disp_Height" : "6 1/4 in.", "Disp_Width" : "", "Dimen_Extent" : "", "Medium" : "Wood", "Support" : "", "Disp_Medium" : "Wood, horn, twisted cord", "Info_Page_Comm" : "Hand looms are traditionally used by West African men in weaving narrow-strips of cloth. While the heddle pulley is a crucial functional element of the loom, the elaborately carved figure is not. These decorative figures, which fell out of fashion at the end of the last century, were made beautiful simply for the delight and pleasure of the weaver. The human compulsion to beautify functional objects is explained simply by a Guro artist who said, “We cannot live without such beautiful things.” [Gallery label text, 2009]", "Dedication" : "R. T. Miller Fund", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Woodwork", "Creation_Place2" : "Ivoirian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/53.75.1_A4.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/53.75.1_A4.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/53.75.1_A4.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/53.75.1_A4.jpg", "IsPrimary" : "0", "_SurrogateID" : "25496", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/53.75.1_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/53.75.1_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/53.75.1_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/53.75.1_A3.jpg", "IsPrimary" : "0", "_SurrogateID" : "25495", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/53.75.1_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/53.75.1_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/53.75.1_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/53.75.1_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "25494", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 6352, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6352", "Disp_Access_No" : "1983.17", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1900", "_Disp_Start_Dat" : "1895", "_Disp_End_Date" : "1905", "Disp_Title" : "Man and Woman in Canoe with Totemic Animals", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Haida", "Sort_Artist" : "Unknown, Haida", "Disp_Dimen" : "4 x 2 1/4 x 13 7/8 in. (10.2 x 5.7 x 35.2 cm)", "Disp_Height" : "4 in.", "Disp_Width" : "2 1/4 in.", "Dimen_Extent" : "", "Medium" : "Stone", "Support" : "", "Disp_Medium" : "Argillite", "Info_Page_Comm" : "Argillite, a fine-grained sedimentary rock sometimes called “black slate,” is mined in the Queen Charlotte Islands, the only mineable source in North America. These small and easily transportable sculptures were first made by the Haida in the early 19th century for trade with outsiders. Here the canoe is filled with a raven, a bear and two human paddlers. The animals are totemic figures, relating to matrilineal clans; the human figure with longer hair may be a shaman. These sculptures are still being made today in an array of figure groupings and materials. [Gallery label text, 2009]", "Dedication" : "Gift of Mrs. Nathaniel T. Whitcomb", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "First Nations (Canada)", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/83.17_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/83.17_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/83.17_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/83.17_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "25830", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/83.17_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/83.17_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/83.17_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/83.17_A3.jpg", "IsPrimary" : "0", "_SurrogateID" : "25831", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 7829, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7829", "Disp_Access_No" : "1973.139", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Gable Mask", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Iatmul", "Sort_Artist" : "Unknown, Iatmul", "Disp_Dimen" : "14 3/4 x 7 11/16 x 4 1/2 in. (37.5 x 19.5 x 11.5 cm)", "Disp_Height" : "14 3/4 in.", "Disp_Width" : "7 11/16 in.", "Dimen_Extent" : "overall", "Medium" : "Wood", "Support" : "", "Disp_Medium" : "Wood, pigment, shell", "Info_Page_Comm" : "The spiritual lives of Melanesian communities are dominated by Men’s Societies. The ceremonial Men’s House is the sacred dwelling place of the clan spirits, treasures, and of initiated men. Gable masks like this adorned the façades of Men’s Houses. Similar to gargoyles in medieval churches, these figures were meant to ward off troublesome spirits that can cause illness and spread mischief. Gable masks embodied powerful female, ancestral spirits. [Gallery label text, 2009]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "Papua New Guinean", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/73.139_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/73.139_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/73.139_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/73.139_A2.jpg", "IsPrimary" : "0", "_SurrogateID" : "26798", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/73.139_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/73.139_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/73.139_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/73.139_A3.jpg", "IsPrimary" : "1", "_SurrogateID" : "28374", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "On disk 090113", "View" : "" } , ] },{ "embark_ID" : 7477, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7477", "Disp_Access_No" : "1981.52", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1967", "_Disp_Start_Dat" : "1962", "_Disp_End_Date" : "1972", "Disp_Title" : "Two Polar Bears", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Inuit", "Sort_Artist" : "Unknown, Inuit", "Disp_Dimen" : "12 3/8 x 13 x 9 in. (31.4 x 33 x 22.9 cm)", "Disp_Height" : "12 3/8 in.", "Disp_Width" : "13 in.", "Dimen_Extent" : "", "Medium" : "Stone", "Support" : "", "Disp_Medium" : "Green stone", "Info_Page_Comm" : "", "Dedication" : "Gift of Mrs. Joseph C. Wilson", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "Native Canadian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/81.52_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/81.52_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/81.52_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/81.52_A1.jpg", "IsPrimary" : "0", "_SurrogateID" : "19298", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Print master appears to have been photoshopped to give a completely black background. No file without the modification has survived.", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/81.52_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/81.52_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/81.52_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/81.52_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "27187", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 7842, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7842", "Disp_Access_No" : "1979.19", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1940", "_Disp_Start_Dat" : "1935", "_Disp_End_Date" : "1945", "Disp_Title" : "Slit Gong", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Kayan-Borbor", "Sort_Artist" : "Unknown, Kayan-Borbor", "Disp_Dimen" : "16 x 81 1/2 x 14 in. (40.6 x 207 x 35.6 cm)", "Disp_Height" : "16 in.", "Disp_Width" : "81 1/2 in.", "Dimen_Extent" : "", "Medium" : "Wood", "Support" : "", "Disp_Medium" : "Wood, paint", "Info_Page_Comm" : "The spiritual lives of Melanesian communities are dominated by Men’s Societies. The ceremonial Men’s House is the sacred dwelling place of the clan spirits, treasures, and of initiated men. Traditionally, slit-gong drums were located at the center of the Men’s House and functioned as musical instruments as well as a means of long-distance communication. A range of tones and sounds could be produced depending on the style of the beating stick and the varying thickness of the sides of the drum. In parts of New Guinea, the sounds produced by slit-gong drums were believed to be the voices of supernatural beings. Hollowed from a massive single tree, the sides of this drum are carved with a mix of butterfly, frog and fish motifs that are so stylized they can be difficult to discern. [Gallery label text, 2009]", "Dedication" : "Gift of Dr. James G. Zimmer", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Musical Instrument", "Creation_Place2" : "Papua New Guinean", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/79.19_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/79.19_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/79.19_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/79.19_A3.jpg", "IsPrimary" : "0", "_SurrogateID" : "26807", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/79.19_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/79.19_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/79.19_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/79.19_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "26813", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4908, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4908", "Disp_Access_No" : "1985.25", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Reliquary Image (Ngulu/Nguru)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Kota", "Sort_Artist" : "Unknown, Kota", "Disp_Dimen" : "15 1/4 x 11 1/4 in. (38.7 x 28.6 cm)", "Disp_Height" : "15 1/4 in.", "Disp_Width" : "11 1/4 in.", "Dimen_Extent" : "", "Medium" : "Brass", "Support" : "wood", "Disp_Medium" : "Brass and copper over wood", "Info_Page_Comm" : "In the past, the Kota venerated the bones of their most revered ancestors. The bones were believed to embody their spirits which, if treated well, could aid and improve the lives of the living. Kept in enclosed baskets, these precious, sacred bones were guarded by reliquary figures like this one. [Gallery label text, 2009]", "Dedication" : "Gift of Gertrude Herdle Moore and Isabel Herdle in honor of Langdon Clay", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "Gabonese", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/85.25_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/85.25_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/85.25_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/85.25_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "26810", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 8131, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/8131", "Disp_Access_No" : "1992.79", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1900", "_Disp_Start_Dat" : "1895", "_Disp_End_Date" : "1905", "Disp_Title" : "Shoowa Velvet", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Kuba", "Sort_Artist" : "Unknown, Kuba", "Disp_Dimen" : "20 9/16 x 23 1/4 in. (52.3 x 59 cm)", "Disp_Height" : "20 9/16 in.", "Disp_Width" : "23 1/4 in.", "Dimen_Extent" : "", "Medium" : "Raffia", "Support" : "", "Disp_Medium" : "Raffia", "Info_Page_Comm" : "Kuba people are renowned for their shoowa velvet, the creation of which is strictly divided along gender lines; men weave the cloth and women do the needlework. This incredibly time-consuming process can take several months to a year to reach completion on one panel. These panels are not made into clothing, but rather treated as currency and valued as treasured personal objects. [Gallery label text, 2009]", "Dedication" : "Marion Stratton Gould Fund, gift of Molly Stern Estate and Mrs. Harmar Brereton, by exchange", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Textiles", "Creation_Place2" : "Congolese", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/92.79_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/92.79_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/92.79_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/92.79_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "31229", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Temporary image, not for print or web", "View" : "" } , ] },{ "embark_ID" : 7401, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7401", "Disp_Access_No" : "1951.112", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Double Cup", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Lunda", "Sort_Artist" : "Unknown, Lunda", "Disp_Dimen" : "3 1/2 x 7 x 3 5/8 in. (8.9 x 17.8 x 9.2 cm)", "Disp_Height" : "3 1/2 in.", "Disp_Width" : "7 in.", "Dimen_Extent" : "", "Medium" : "Wood", "Support" : "", "Disp_Medium" : "Wood", "Info_Page_Comm" : "", "Dedication" : "R.T. Miller Fund", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Woodwork", "Creation_Place2" : "Democratic Republic of the Congo", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/51.112_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.112_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.112_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/51.112_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "31026", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14299, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14299", "Disp_Access_No" : "2006.71", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1950-1960", "_Disp_Start_Dat" : "1950", "_Disp_End_Date" : "1960", "Disp_Title" : "Mask (lipiko) of Makonde Man with Incised Tattoos", "Alt_Title" : "Makonde Helmut Mask", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Mozambican", "Sort_Artist" : "Unknown, Mozambican", "Disp_Dimen" : "9 3/4 x 7 1/2 x 11 in. (24.8 x 19.1 x 27.9 cm)", "Disp_Height" : "9 3/4 in.", "Disp_Width" : "7 1/2 in.", "Dimen_Extent" : "overall", "Medium" : "Wood", "Support" : "", "Disp_Medium" : "Wood, human hair, pigment", "Info_Page_Comm" : "Makonde people are producing more masks and types of masquerades now than ever before. This living, thriving tradition favors innovation, so styles of mask and dance change continually. Masked dancers perform before enthusiastic audiences for holidays or important occasions in the village. This mask, from the 1950s or 60s is in the classic style favored by Makonde people today. The style and design of facial tattoos are unique to the Makonde and would have identified this face as belonging to a specific region or tribe. Most Makonde tattooing ended in the 1960s, so only the older generation wears the distinctive marks today. The specificity of the shaved hairline and the scar on the scalp near the left temple indicate that perhaps this mask was a portrait. [Gallery label text, 2009]", "Dedication" : "Transfer from Education Department", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Woodwork", "Creation_Place2" : "Mozambican", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2006.71_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2006.71_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2006.71_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2006.71_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "24242", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4911, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4911", "Disp_Access_No" : "1993.37", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Face Mask", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Marka", "Sort_Artist" : "Unknown, Marka", "Disp_Dimen" : "12 3/16 x 5 11/16 x 4 3/4 in. (31 x 14.5 x 12 cm)", "Disp_Height" : "12 3/16 in.", "Disp_Width" : "5 11/16 in.", "Dimen_Extent" : "", "Medium" : "Wood", "Support" : "", "Disp_Medium" : "Wood, brass, iron and fiber", "Info_Page_Comm" : "As human sweat leaves a recognizable patina or surface appearance on wood, evidence of use is visible on the back of this mask. It was likely performed by males in Marka men’s association (jow). These masquerades are performed to help coordinate community labor projects, provide entertainment to the public and teach young men how to take on their adult responsibilities. [Gallery label text, 2009]", "Dedication" : "Gift of Nancy Watson Dean", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "Malian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/93.37_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/93.37_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/93.37_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/93.37_A3.jpg", "IsPrimary" : "1", "_SurrogateID" : "28380", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "On disk 090113", "View" : "" } , ] },{ "embark_ID" : 7403, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7403", "Disp_Access_No" : "1972.52", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Helmet Mask (Sowei)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Mende", "Sort_Artist" : "Unknown, Mende", "Disp_Dimen" : "15 1/2 x 8 7/8 x 8 7/8 in. (39.4 x 22.5 x 22.5 cm)", "Disp_Height" : "15 1/2 in.", "Disp_Width" : "8 7/8 in.", "Dimen_Extent" : "", "Medium" : "Wood", "Support" : "", "Disp_Medium" : "Wood", "Info_Page_Comm" : "The only occasion upon which it is acceptable for women to wear masks in Africa is during the ceremonies of the Sande society in Mende culture. Sande society, which includes all Mende women, wields a great deal of political and social power. Sowei is the Sande society’s guardian spirit and as such has a forceful, aggressive dance style that is enhanced by an imposing body covering of black raffia fibers. The carved mask embodies ideal Mende womanhood: a high clear forehead (intelligence); downcast eyes (servility); small mouth (discretion); neck rings (health) and scarification (physical beauty). The elaborate hairstyle reflects the importance of social bonds between women as it takes many hands to create such a look. [Gallery label text, 2009]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "Sierra Leonean", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/72.52_A4.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/72.52_A4.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/72.52_A4.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/72.52_A4.jpg", "IsPrimary" : "1", "_SurrogateID" : "30516", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/72.52_A5.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/72.52_A5.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/72.52_A5.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/72.52_A5.jpg", "IsPrimary" : "0", "_SurrogateID" : "30517", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 7404, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7404", "Disp_Access_No" : "1972.53", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Face Mask with Hinged Jaw (Elu)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Ogoni", "Sort_Artist" : "Unknown, Ogoni", "Disp_Dimen" : "7 1/2 x 4 3/4 x 4 5/8 in. (19.1 x 12.1 x 11.7 cm)", "Disp_Height" : "7 1/2 in.", "Disp_Width" : "4 3/4 in.", "Dimen_Extent" : "", "Medium" : "Wood", "Support" : "", "Disp_Medium" : "Wood, pigment and fiber", "Info_Page_Comm" : "The white face of this Ogoni mask is associated with the youthfulness of benevolent spirits. As positive forces, elu are entertainers and are performed by young men on multiple occasions throughout the year. These unusually small masks perch on the front of the dancer’s face attached to a woven head piece. The mask is further animated when the dancer, clenching in his teeth a stick attached to its back, opens and closes the hinged jaw. The bowler hat is typical of this type of mask, as elu often depict hairstyles and fashions current at the time. In the early 20th century when this mask was carved, the Ogoni were involved in trading palm oil (for cooking) and gained exposure to this European style. These bowler hats became desirable prestige items for the Ogoni. [Gallery label text, 2009] ", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "Nigerian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/72.53_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/72.53_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/72.53_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/72.53_A3.jpg", "IsPrimary" : "1", "_SurrogateID" : "25522", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/72.53_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/72.53_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/72.53_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/72.53_A2.jpg", "IsPrimary" : "0", "_SurrogateID" : "25521", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 7828, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7828", "Disp_Access_No" : "1973.138", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Body Mask", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Papua New Guinean", "Sort_Artist" : "Unknown, Papua New Guinean", "Disp_Dimen" : "96 in. (243.8 cm)", "Disp_Height" : "96 in.", "Disp_Width" : "", "Dimen_Extent" : "", "Medium" : "Cane", "Support" : "", "Disp_Medium" : "Cane fibers, shells, feathers, pigment", "Info_Page_Comm" : "In earlier times, masks like this one were used in traditional initiation ceremonies in which young boys became men. Skulls of ancestors sometimes adorned the masks to reinforce their role as benevolent ancestral spirits. The dancer would have looked out of the eyes of the lower face and treated as handles the holes hidden below the small patches of grass. As it was created in the 20th century, we know this body mask was made by artists specifically for sale. Even as social changes affect a culture, the traditional arts of a people can become representations of ethnic identity and potent symbols of familiar values and vaunted ideals of an earlier time. This mask was made by people living on the Sepik River, the major trade and communications artery of Papua New Guinea. Today, it is on the Sepik that most westerners experience Papua New Guinea as cruise lines travel up and down the river, stopping at villages where local artists sell their work. [Gallery label text, 2009] ", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Basketry", "Creation_Place2" : "New Guinean", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/73.138_A4.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/73.138_A4.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/73.138_A4.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/73.138_A4.jpg", "IsPrimary" : "1", "_SurrogateID" : "28659", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 7412, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7412", "Disp_Access_No" : "1971.64", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Champion-Cultivator Staff", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Senufo", "Sort_Artist" : "Unknown, Senufo", "Disp_Dimen" : "54 in. (137.2 cm)", "Disp_Height" : "54 in.", "Disp_Width" : "", "Dimen_Extent" : "", "Medium" : "Wood", "Support" : "", "Disp_Medium" : "Wood, fiber, cowrie shells, beads, sacrificial materials", "Info_Page_Comm" : "During the annual hoeing contests of the Senufo, the farmer with the most agricultural prowess wins the champion-cultivator staff for one year. The voluptuous and regal figure, the epitome of Senufo beauty, is posted in the ground during competition to watch over and spur on the contestants. These contests are more than simple agricultural competitions; they weave a rich tapestry of art forms—drumming, singing, dancing, and sculpture—to turn back-breaking labor into an inspiring community ritual. The shiny area visible near the figure’s eye is likely residue from the ritual application of oil, a sacrificial offering made to the powers embodied in the staff. [Gallery label text, 2009]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Woodwork", "Creation_Place2" : "Ivoirian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/71.64_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/71.64_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/71.64_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/71.64_A3.jpg", "IsPrimary" : "0", "_SurrogateID" : "28655", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/71.64_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/71.64_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/71.64_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/71.64_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "28656", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/71.64_A4.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/71.64_A4.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/71.64_A4.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/71.64_A4.jpg", "IsPrimary" : "0", "_SurrogateID" : "28657", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/71.64_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/71.64_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/71.64_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/71.64_A2.jpg", "IsPrimary" : "0", "_SurrogateID" : "28658", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 7411, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7411", "Disp_Access_No" : "1970.22", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Helmet Mask (Waniougo)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Senufo", "Sort_Artist" : "Unknown, Senufo", "Disp_Dimen" : "14 3/8 x 25 3/4 x 13 in. (36.5 x 65.4 x 33 cm)", "Disp_Height" : "14 3/8 in.", "Disp_Width" : "25 3/4 in.", "Dimen_Extent" : "", "Medium" : "Wood", "Support" : "", "Disp_Medium" : "Wood", "Info_Page_Comm" : "The sharp edges and angular forms of this double-faced mask (waniougo) result in a fierce and expressive presence. A fearsome appearance is desirable as waniougo’s role is to frighten away evil spirits wishing to harm a Senufo village at times of particular vulnerability, for example at funerals. Their appearance in nighttime masquerades enhances the otherworldly presence of these “firespitter” masks; embers or burning grass are held in front of the mouths through which the wearer blows to creating a dramatic shower of sparks into the night sky. Waniougo combines the features of crocodiles (teeth), hippos (tusks), warthogs (upper tusks) and chameleons (two are visible on the top). In order to empower the mask before the ceremony, the cup held by the chameleons is filled with magical materials and the mask freshly painted with spots. [Gallery label text, 2009] ", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "Ivoirian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/70.22_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/70.22_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/70.22_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/70.22_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "15068", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 7407, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7407", "Disp_Access_No" : "1969.72", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Rhythm Pounder (Deble)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Senufo", "Sort_Artist" : "Unknown, Senufo", "Disp_Dimen" : "42 1/2 in. (108 cm)", "Disp_Height" : "42 1/2 in.", "Disp_Width" : "", "Dimen_Extent" : "", "Medium" : "Wood", "Support" : "", "Disp_Medium" : "Wood", "Info_Page_Comm" : "In many African societies, life on earth is seen as part of a continuum that permits movement between the spirit and earthly worlds. As ancestors are in a position to assist the living, they must be respected and attended to. The rhythm pounders of the Senufo originally functioned as communication devices in calling the spirits of ancestors to participate in funerals. Held by the upper arms, the rhythm pounder’s thick base is thumped into the earth in rhythm with the sounds of chants, drums and rattles. [Gallery label text, 2009]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "Ivoirian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/69.72_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/69.72_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/69.72_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/69.72_A3.jpg", "IsPrimary" : "0", "_SurrogateID" : "28660", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/69.72_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/69.72_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/69.72_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/69.72_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "28661", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 7347, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7347", "Disp_Access_No" : "1968.106", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Necklace", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Teke", "Sort_Artist" : "Unknown, Teke", "Disp_Dimen" : "11 5/16 in. (28.8 cm)", "Disp_Height" : "", "Disp_Width" : "11 5/16 in.", "Dimen_Extent" : "", "Medium" : "Brass", "Support" : "", "Disp_Medium" : "Brass", "Info_Page_Comm" : "Originally worn only by Teke chiefs, these bronze necklaces became a kind of currency that was traded for food, livestock and even wives. [Gallery label text, 2009]", "Dedication" : "Gift of Isabel Herdle in memory of Marjorie Wildenhain", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Jewelry", "Creation_Place2" : "Democratic Republic of the Congo", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/68.106_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/68.106_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/68.106_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/68.106_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "26788", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 22273, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/22273", "Disp_Access_No" : "36.2009L", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Prayer Rug", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Turkish", "Sort_Artist" : "Unknown, Turkish", "Disp_Dimen" : "43 11/16 x 23 5/8 x 1/4 in. (111 x 60 x 0.7 cm)", "Disp_Height" : "43 11/16 in.", "Disp_Width" : "23 5/8 in.", "Dimen_Extent" : "overall", "Medium" : "Cotton", "Support" : "", "Disp_Medium" : "Cotton, pigments", "Info_Page_Comm" : "", "Dedication" : "From the collection of the Buffalo Museum of Science, C24193", "Copyright_Type" : "Unknown Artist", "Disp_Obj_Type" : "Textiles", "Creation_Place2" : "Turkish", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/36.2009L_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/36.2009L_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/36.2009L_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/36.2009L_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "31555", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 7836, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7836", "Disp_Access_No" : "1974.76", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Spirit Figure (Mindja)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Waresi", "Sort_Artist" : "Unknown, Waresi", "Disp_Dimen" : "41 3/4 x 9 13/16 x 4 5/16 in. (106 x 25 x 11 cm)", "Disp_Height" : "41 3/4 in.", "Disp_Width" : "9 13/16 in.", "Dimen_Extent" : "overall", "Medium" : "Wood", "Support" : "", "Disp_Medium" : "Wood, paint", "Info_Page_Comm" : "The cultivation of yams was central to the lives of the Waresi people; they served as both a ceremonial and staple food. The spirits responsible for their growth (and by extension for the welfare of the community) needed to be properly honored upon the harvest. During the mindja-ma ceremony a basket containing yams was adorned with two of these figures. Mindja were considered to be powerful male water spirits who lived, and were sometimes visible, just below the surface in lakes. This powerful otherworldly being embodies the qualities of humans, plants and animals. The simplified eyes, nose and mouth are based on the human face. The painted diamond shapes symbolize banana leaves, and the projecting triangles that run down the bottom half of the figure represent an undulating snake. [Gallery label text, 2009]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "Papua New Guinean", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/74.76_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/74.76_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/74.76_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/74.76_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "26801", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 7406, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7406", "Disp_Access_No" : "1951.114", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Pendant Amulet (Ikhoko)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Western Pende", "Sort_Artist" : "Unknown, Western Pende", "Disp_Dimen" : "2 1/4 x 1 1/4 x 1 in. (5.7 x 3.2 x 2.5 cm)", "Disp_Height" : "2 1/4 in.", "Disp_Width" : "1 1/4 in.", "Dimen_Extent" : "", "Medium" : "Ivory", "Support" : "", "Disp_Medium" : "Ivory", "Info_Page_Comm" : "This amulet was worn around the neck of a young Pende man beginning with his initiation into the men’s secret society and remaining as a part of his personal adornment for life. This face is a smaller version of the masks worn during initiation and would later act as a reminder to the wearer of the moral codes instilled in those formative ceremonies. [Gallery label text, 2009]", "Dedication" : "R.T. Miller Fund", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Jewelry", "Creation_Place2" : "Democratic Republic of the Congo", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/51.114_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.114_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.114_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/51.114_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "17007", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 7418, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7418", "Disp_Access_No" : "1972.54", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Crest Mask", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Yaka", "Sort_Artist" : "Unknown, Yaka", "Disp_Dimen" : "20 1/4 x 18 1/4 x 15 in. (51.4 x 46.4 x 38.1 cm)", "Disp_Height" : "20 1/4 in.", "Disp_Width" : "18 1/4 in.", "Dimen_Extent" : "", "Medium" : "Wood", "Support" : "", "Disp_Medium" : "Wood, fiber, pigment", "Info_Page_Comm" : "Masks like this one are danced by young Yaka men in celebration of completing a stage of their initiation into manhood. These masks provide protection to the young, vulnerable men as they enter into the challenges and responsibilities of adulthood. In particular, they are meant to insure the young men’s virility for the future of the community. [Gallery label text, 2009]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "Democratic Republic of the Congo", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/72.54_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/72.54_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/72.54_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/72.54_A2.jpg", "IsPrimary" : "0", "_SurrogateID" : "26797", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/72.54_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/72.54_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/72.54_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/72.54_A3.jpg", "IsPrimary" : "1", "_SurrogateID" : "31037", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4914, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4914", "Disp_Access_No" : "1964.102", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Spoon", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Yaoure or Baule", "Sort_Artist" : "Unknown, Yaoure or Baule", "Disp_Dimen" : "7 1/16 x 1 3/4 x 3 3/8 in. (18 x 4.5 x 8.5 cm)", "Disp_Height" : "7 1/16 in.", "Disp_Width" : "1 3/4 in.", "Dimen_Extent" : "overall", "Medium" : "Wood", "Support" : "", "Disp_Medium" : "Wood", "Info_Page_Comm" : "", "Dedication" : "Gift of Mrs. Gertrude H. Moore", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "Ivoirian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "This was determined to be the same object as that catalogued as 61.16. As the information is filed and the object currently exhibited under the later number, it was decided to make the earlier record inactive and maintain this 64.102 record.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/64.102_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/64.102_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/64.102_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/64.102_A1.jpg", "IsPrimary" : "0", "_SurrogateID" : "25504", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/64.102_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/64.102_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/64.102_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/64.102_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "25505", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 7424, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7424", "Disp_Access_No" : "1965.9.2", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Twin Figure (Ere Ibeji)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Yoruba", "Sort_Artist" : "Unknown, Yoruba", "Disp_Dimen" : "9 1/4 x 2 5/8 x 2 5/8 in. (23.5 x 6.7 x 6.7 cm)", "Disp_Height" : "9 1/4 in.", "Disp_Width" : "2 5/8 in.", "Dimen_Extent" : "", "Medium" : "Wood", "Support" : "", "Disp_Medium" : "Wood, pigment, beads, cowrie shells, fiber, sacrificial materials", "Info_Page_Comm" : "The Yoruba have one of the highest rates of twinning in the world. Twins are endowed with powerful attributes, both auspicious and dangerous. Due to the high mortality rate of twins, when one or both dies, Yoruba mothers procure small wooden statues (ere ibeji) to house the spirits of the deceased. If there is a single ibeji, it is likely that one twin died and one survived. If there are two ibeji figures, then it is likely that both twins died. Wealthy women clothe their ere ibeji in beaded or shelled vests. Surface accumulation and signs of wear are common as ibeji figures are cared for in the same manner as a living child and are handled, clothed, washed, fed and honored with dances and songs. Lyrics from a Yoruba song explain how the care of ere ibeji can control the potentially negative influence of twins’ spirits, “Abuse me and I shall follow you home. Praise me and I shall leave you alone.” Subsequent generations inherit the care of ere ibeji from their ancestors. [Gallery label text, 2009]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "Nigerian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/65.9.2_A7.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/65.9.2_A7.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/65.9.2_A7.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/65.9.2_A7.jpg", "IsPrimary" : "1", "_SurrogateID" : "25509", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/65.9.2_A8.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/65.9.2_A8.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/65.9.2_A8.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/65.9.2_A8.jpg", "IsPrimary" : "0", "_SurrogateID" : "25510", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/65.9.1-.2_A4.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/65.9.1-.2_A4.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/65.9.1-.2_A4.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/65.9.1-.2_A4.jpg", "IsPrimary" : "0", "_SurrogateID" : "25511", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 7422, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7422", "Disp_Access_No" : "1965.9.1", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Twin Figure (Ere Ibeji)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Yoruba", "Sort_Artist" : "Unknown, Yoruba", "Disp_Dimen" : "9 3/8 x 2 5/8 x 2 3/4 in. (23.8 x 6.7 x 7 cm)", "Disp_Height" : "9 3/8 in.", "Disp_Width" : "2 5/8 in.", "Dimen_Extent" : "", "Medium" : "Wood", "Support" : "", "Disp_Medium" : "Wood, pigment, beads, cowrie shells, fiber, sacrificial materials", "Info_Page_Comm" : "The Yoruba have one of the highest rates of twinning in the world. Twins are endowed with powerful attributes, both auspicious and dangerous. Due to the high mortality rate of twins, when one or both dies, Yoruba mothers procure small wooden statues (ere ibeji) to house the spirits of the deceased. If there is a single ibeji, it is likely that one twin died and one survived. If there are two ibeji figures, then it is likely that both twins died. Wealthy women clothe their ere ibeji in beaded or shelled vests. Surface accumulation and signs of wear are common as ibeji figures are cared for in the same manner as a living child and are handled, clothed, washed, fed and honored with dances and songs. Lyrics from a Yoruba song explain how the care of ere ibeji can control the potentially negative influence of twins’ spirits, “Abuse me and I shall follow you home. Praise me and I shall leave you alone.” Subsequent generations inherit the care of ere ibeji from their ancestors. [Gallery label text, 2009]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "Nigerian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/65.9.1_A5.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/65.9.1_A5.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/65.9.1_A5.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/65.9.1_A5.jpg", "IsPrimary" : "1", "_SurrogateID" : "25506", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/65.9.1_A6.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/65.9.1_A6.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/65.9.1_A6.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/65.9.1_A6.jpg", "IsPrimary" : "0", "_SurrogateID" : "25507", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/65.9.1-.2_A4.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/65.9.1-.2_A4.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/65.9.1-.2_A4.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/65.9.1-.2_A4.jpg", "IsPrimary" : "0", "_SurrogateID" : "25508", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "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" : 2812, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2812", "Disp_Access_No" : "1958.141", "_AccNumSort1" : "", "Disp_Create_DT" : "1956", "_Disp_Start_Dat" : "1956", "_Disp_End_Date" : "1956", "Disp_Title" : "Crucifixion Pendant", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Arthur A. Vierthaler", "Sort_Artist" : "Vierthaler, Arthur A.", "Disp_Dimen" : "4 3/8 x 2 1/2 in. (11.1 x 6.4 cm)", "Disp_Height" : "4 3/8 in.", "Disp_Width" : "2 1/2 in.", "Dimen_Extent" : "", "Medium" : "Silver", "Support" : "", "Disp_Medium" : "Silver, gold and niello", "Info_Page_Comm" : "", "Dedication" : "Purchase Prize from the 2nd Exhibition of American Jewelry and Related Objects", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Jewelry", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/58.141_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/58.141_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/58.141_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/58.141_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "24394", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 5224, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5224", "Disp_Access_No" : "1930.11", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1911-1913", "_Disp_Start_Dat" : "1911", "_Disp_End_Date" : "1913", "Disp_Title" : "Houses and Trees", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Maurice de Vlaminck", "Sort_Artist" : "Vlaminck, Maurice de", "Disp_Dimen" : "31 7/8 x 39 1/2 in. (81 x 100.3 cm)", "Disp_Height" : "31 7/8 in.", "Disp_Width" : "39 1/2 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Charles A. Dewey Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "French", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/30.11_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/30.11_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/30.11_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/30.11_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "17989", "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" : 1069, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1069", "Disp_Access_No" : "1996.11", "_AccNumSort1" : "", "Disp_Create_DT" : "1930", "_Disp_Start_Dat" : "1930", "_Disp_End_Date" : "1930", "Disp_Title" : "Garden Figure", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Bessie Potter Vonnoh", "Sort_Artist" : "Vonnoh, Bessie Potter", "Disp_Dimen" : "64 x 22 x 16 in. (162.6 x 55.9 x 40.6 cm)", "Disp_Height" : "64 in.", "Disp_Width" : "22 in.", "Dimen_Extent" : "", "Medium" : "Bronze", "Support" : "", "Disp_Medium" : "Bronze", "Info_Page_Comm" : "An identical figure is part of a fountain group in Central Park in New York City, dedicated to Frances Hodgson Burnett, author of "The Secret Garden." [Gallery label text, 2005]", "Dedication" : "Gift of Edward, James and Julian Atwater in memory of their parents and their grandparents", "Copyright_Type" : "See Notes & Histories-Copyright Notes", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Children" : [ { "Rel_Obj_ID" : "3895", "Rel_Obj_Title" : "Maquette for "Garden Figure"" } ], "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/96.11_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/96.11_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/96.11_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/96.11_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12530", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 7951, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7951", "Disp_Access_No" : "2000.38", "_AccNumSort1" : "", "Disp_Create_DT" : "1969", "_Disp_Start_Dat" : "1969", "_Disp_End_Date" : "1969", "Disp_Title" : "Vegetarian Vegetable", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "Campbell's Soup II", "Disp_Maker_1" : "Andy Warhol", "Sort_Artist" : "Warhol, Andy", "Disp_Dimen" : "35 x 23 1/16 in. (88.9 x 58.6 cm)", "Disp_Height" : "35 in.", "Disp_Width" : "23 1/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Color serigraph", "Info_Page_Comm" : "Gallery label text 2012: By choosing a common consumer item like a soup can as his subject and using commercial techniques to print it repeatedly, Andy Warhol forever altered the modern concept of art and value. His first Campbell’s Soup cans, painted and exhibited in 1962, consisted of 32 canvases, each one a variety of soup then produced by Campbell’s. They were displayed in a gallery on wall-mounted shelves to mimic their appearance in a grocery store. Over the next 20 years, Warhol repeatedly revisited the subject. In 1969, he made Vegetarian Vegetable as part of his Campbell’s Soup II portfolio. Below are three other prints from the portfolio of ten: ", "Dedication" : "Gift of Ron Kransler in memory of his father John H. Kransler", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2000.38_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2000.38_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2000.38_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2000.38_A1.jpg", "IsPrimary" : "0", "_SurrogateID" : "13490", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2000.38_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2000.38_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2000.38_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2000.38_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "52555", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 13567, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13567", "Disp_Access_No" : "2005.225", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Almost Home for Christmas", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "John C. Wenrich", "Sort_Artist" : "Wenrich, John C.", "Disp_Dimen" : "18 5/8 x 23 7/8 in. (47.3 x 60.6 cm)", "Disp_Height" : "18 5/8 in.", "Disp_Width" : "23 7/8 in.", "Dimen_Extent" : "sheet", "Medium" : "Watercolor", "Support" : "illustration board", "Disp_Medium" : "Watercolor, gouache and graphite ", "Info_Page_Comm" : "John C. Wenrich’s watercolor painting captures one of the ironies of modern technology: the occasional and spectacular failure of machines designed to make life more convenient. In <em>Almost Home for Christmas</em>, the family car has been bested by the snow. The application of good old-fashioned sweat and muscles of both man and beast is the only solution. [label text for <em>Modern Icon: The Machine As Subject in American Art</em> exhibition, February 3 – March 6, 2012] ", "Dedication" : "Gift of James and Dorothy H. Green", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Watercolor", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2005.225_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.225_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2005.225_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2005.225_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "22689", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3763, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3763", "Disp_Access_No" : "1968.43", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Asphalt Plant, Painted Post, N.Y.", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "John C. Wenrich", "Sort_Artist" : "Wenrich, John C.", "Disp_Dimen" : "20 3/16 x 27 15/16 in. (51.2 x 71 cm)", "Disp_Height" : "20 3/16 in.", "Disp_Width" : "27 15/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Watercolor", "Support" : "board", "Disp_Medium" : "Watercolor", "Info_Page_Comm" : "John C. Wenrich managed to turn a painting of an asphalt plant into a compelling rumination on the dynamic between nature and machine. In a style that celebrates the precision and geometry of machines, the artist dwarfs the industrial complex with a massive hill as if to put the proper perspective on the relationship between technology and nature. This asphalt plant in Painted Post, just north of Corning, NY, combined sand and stone with a binder under extremely high temperatures to produce blacktop, the material used to pave more than 95% of American roads. [label text for <em>Modern Icon: The Machine As Subject in American Art</em> exhibition, February 3 – March 6, 2012] ", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Watercolor", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/68.43_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/68.43_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/68.43_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/68.43_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "37618", "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" : 1074, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1074", "Disp_Access_No" : "1977.105", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1923", "_Disp_Start_Dat" : "1918", "_Disp_End_Date" : "1928", "Disp_Title" : "Le Coq d'or: Chanticleer Greeting the Sun...", "Alt_Title" : "", "Obj_Title" : "Le Coq d'or: Chanticleer Greeting the Sun, from Chanticleer's Point of View, Causing the Sun to Rise", "Series_Title" : "", "Disp_Maker_1" : "Warren Wheelock", "Sort_Artist" : "Wheelock, Warren", "Disp_Dimen" : "29 3/4 x 12 in. (75.6 x 30.5 cm)", "Disp_Height" : "29 3/4 in.", "Disp_Width" : "12 in.", "Dimen_Extent" : "", "Medium" : "Bronze", "Support" : "", "Disp_Medium" : "Polished bronze on marble base", "Info_Page_Comm" : "", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/77.105_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/77.105_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/77.105_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/77.105_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12473", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2575, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2575", "Disp_Access_No" : "1992.28", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1970", "_Disp_Start_Dat" : "1965", "_Disp_End_Date" : "1975", "Disp_Title" : "Daphne I", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Frans Wildenhain", "Sort_Artist" : "Wildenhain, Frans", "Disp_Dimen" : "18 x 14 3/4 x 14 3/4 in. (45.7 x 37.5 x 37.5 cm)", "Disp_Height" : "18 in.", "Disp_Width" : "14 3/4 in.", "Dimen_Extent" : "", "Medium" : "Stoneware", "Support" : "", "Disp_Medium" : "Stoneware and glaze", "Info_Page_Comm" : "Frans Wildenhain was a distinguished professor of ceramics at Rochester Institute of Technology. In this beautiful piece, he alludes to the classical myth of Daphne, who was pursued by the god Apollo. She appealed for help and was turned into a laurel tree. Wildenhain expresses the transformation by the gradual plainness of the body of the pot turning into stylized, glazed vegetative forms. Oct. 2011/Folk Art Case M. 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(62.2 x 43.2 x 39.4 cm)", "Disp_Height" : "24 1/2 in.", "Disp_Width" : "17 in.", "Dimen_Extent" : "", "Medium" : "Bronze", "Support" : "", "Disp_Medium" : "Bronze", "Info_Page_Comm" : "", "Dedication" : "Gift of her family", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/89.56.1-.3_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/89.56.1-.3_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/89.56.1-.3_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/89.56.1-.3_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "24030", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 10180, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/10180", "Disp_Access_No" : "1989.56.2", "_AccNumSort1" : "", "Disp_Create_DT" : "1926", "_Disp_Start_Dat" : "1926", "_Disp_End_Date" : "1926", "Disp_Title" : "Penguins", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Blanca Will", "Sort_Artist" : "Will, Blanca", "Disp_Dimen" : "24 1/2 x 17 x 15 1/2 in. (62.2 x 43.2 x 39.4 cm)", "Disp_Height" : "24 1/2 in.", "Disp_Width" : "17 in.", "Dimen_Extent" : "", "Medium" : "Bronze", "Support" : "", "Disp_Medium" : "Bronze", "Info_Page_Comm" : "", "Dedication" : "Gift of her family", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/89.56.1-.3_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/89.56.1-.3_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/89.56.1-.3_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/89.56.1-.3_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "24029", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 10179, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/10179", "Disp_Access_No" : "1989.56.1", "_AccNumSort1" : "", "Disp_Create_DT" : "1926", "_Disp_Start_Dat" : "1926", "_Disp_End_Date" : "1926", "Disp_Title" : "Penguins", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Blanca Will", "Sort_Artist" : "Will, Blanca", "Disp_Dimen" : "22 x 20 x 22 in. (55.9 x 50.8 x 55.9 cm)", "Disp_Height" : "22 in.", "Disp_Width" : "20 in.", "Dimen_Extent" : "", "Medium" : "Bronze", "Support" : "", "Disp_Medium" : "Bronze", "Info_Page_Comm" : "", "Dedication" : "Gift of her family", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/89.56.1-.3_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/89.56.1-.3_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/89.56.1-.3_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/89.56.1-.3_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "24028", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1080, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1080", "Disp_Access_No" : "1989.56", "_AccNumSort1" : "", "Disp_Create_DT" : "1926", "_Disp_Start_Dat" : "1926", "_Disp_End_Date" : "1926", "Disp_Title" : "Penguins", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Blanca Will", "Sort_Artist" : "Will, Blanca", "Disp_Dimen" : "", "Disp_Height" : "", "Disp_Width" : "", "Dimen_Extent" : "", "Medium" : "Bronze", "Support" : "", "Disp_Medium" : "Bronze", "Info_Page_Comm" : " ", "Dedication" : "Gift of her family", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/89.56.1-.3_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/89.56.1-.3_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/89.56.1-.3_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/89.56.1-.3_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "16879", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1082, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1082", "Disp_Access_No" : "1975.24", "_AccNumSort1" : "", "Disp_Create_DT" : "1974", "_Disp_Start_Dat" : "1974", "_Disp_End_Date" : "1974", "Disp_Title" : "Woman with Curlers", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Albert Leon Wilson", "Sort_Artist" : "Wilson, Albert Leon", "Disp_Dimen" : "37 1/2 x 36 1/2 x 16 5/8 in. (95.3 x 92.7 x 42.2 cm)", "Disp_Height" : "37 1/2 in.", "Disp_Width" : "36 1/2 in.", "Dimen_Extent" : "", "Medium" : "Steel", "Support" : "", "Disp_Medium" : "Steel I-beam bridge girder, nuts and bolts", "Info_Page_Comm" : "", "Dedication" : "Gift of the artist, with deep appreciation to the people of Rochester", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.24_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.24_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.24_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.24_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "24031", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "This photograph is NOT intended for publication. ", "View" : "" } , ] },{ "embark_ID" : 2814, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2814", "Disp_Access_No" : "1958.144", "_AccNumSort1" : "", "Disp_Create_DT" : "1956", "_Disp_Start_Dat" : "1956", "_Disp_End_Date" : "1956", "Disp_Title" : "Necklace", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Byron Wilson", "Sort_Artist" : "Wilson, Byron", "Disp_Dimen" : "7 5/16 x 7 1/2 x 9/16 in. (18.5 x 19 x 1.5 cm)", "Disp_Height" : "7 5/16 in.", "Disp_Width" : "7 1/2 in.", "Dimen_Extent" : "overall", "Medium" : "Silver", "Support" : "", "Disp_Medium" : "Silver, ebony and ivory", "Info_Page_Comm" : "", "Dedication" : "Purchase Prize from The 2nd Exhibition of American Jewelry and Related Objects", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Jewelry", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/58.144_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/58.144_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/58.144_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/58.144_A3.jpg", "IsPrimary" : "1", "_SurrogateID" : "36327", "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. 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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. 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