{ "objects" : [ { "embark_ID" : 4799, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4799", "Disp_Access_No" : "1989.45", "_AccNumSort1" : "", "Disp_Create_DT" : "1875", "_Disp_Start_Dat" : "1875", "_Disp_End_Date" : "1875", "Disp_Title" : "The Sculpture Gallery", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Sir Lawrence Alma-Tadema", "Sort_Artist" : "Alma-Tadema, Lawrence", "Disp_Dimen" : "30 1/4 x 23 1/4 in. (76.8 x 59.1 cm)", "Disp_Height" : "30 1/4 in.", "Disp_Width" : "23 1/4 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "panel", "Disp_Medium" : "Oil on panel", "Info_Page_Comm" : "Alma-Tadema is known for his historical and anecdotal scenes set in classical antiquity or medieval Europe. The Sculpture Gallery is one of a number of scenes showing patrons at an ancient art gallery or sculptor’s studio. Here a slave—recognizable by the tablet hanging around his neck—displays a basin ornamented with Scylla, the mythological sea-serpent. The 19th-century collecting audience could likely identify the "Infant Hercules Struggling with a Snake," from the Capodimonti Museum in Naples at the left, and on the right, the statue of Helen, mother of Emperor Constantine, from the Capitoline museum in Rome. The Roman visitors are modelled on members of Alma-Tadema's family, including the artist’s wife and children, at the center. The artist travelled widely and visited historic sites, gaining a reputation for his accuracy in depicting ancient settings and artifacts. However, it was modern technology that helped him achieve this renown: the artist collected professional photographs of artworks and artifacts found on archaeological digs, using these images as the basis for his scenes. [Gallery label text, 2011]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "British", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/89.45_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/89.45_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/89.45_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/89.45_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "29174", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Scanned by Andy Olenick April 2009 from an undated and uncredited transparency. Master exists only in TIF form, not DNG. On disk 090407", "View" : "" } , ] },{ "embark_ID" : 4801, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4801", "Disp_Access_No" : "1950.36", "_AccNumSort1" : "", "Disp_Create_DT" : "1830", "_Disp_Start_Dat" : "1830", "_Disp_End_Date" : "1830", "Disp_Title" : "View of Dedham", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "John Constable", "Sort_Artist" : "Constable, John", "Disp_Dimen" : "9 1/2 x 12 1/8 in. (24.1 x 30.8 cm)", "Disp_Height" : "9 1/2 in.", "Disp_Width" : "12 1/8 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "R. T. Miller Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "British", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "W. G. Constable identified the scene as the valley of the Stour in Essex; Dedham too is in Essex County", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/50.36_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/50.36_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/50.36_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/50.36_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "22752", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4804, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4804", "Disp_Access_No" : "1975.115", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1753", "_Disp_Start_Dat" : "1748", "_Disp_End_Date" : "1758", "Disp_Title" : "Man with a Book Seated in a Landscape", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Thomas R. A. Gainsborough", "Sort_Artist" : "Gainsborough, Thomas R. A.", "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" : "Although the name of the sitter is unknown, Gainsborough gives the viewer several clues that help place him in a social context: the gentleman holds a book, indicating he is learned; he leans on a stone pillar, with a pastoral landscape and a river behind him, suggesting he is a landowner. This portrait, made when Gainsborough was in his mid-20s, is a typical example of his early style. [Gallery label text, 2008] ", "Dedication" : "Gift of Dr. and Mrs. Fred W. Geib", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "British", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.115_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.115_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.115_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.115_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "29172", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Scanned by Andy Olenick April 2009 from a 1999 transparency shot by James Via. Master exists only in TIF form, not DNG. On disk 090407", "View" : "" } , ] },{ "embark_ID" : 3889, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3889", "Disp_Access_No" : "1998.75", "_AccNumSort1" : "", "Disp_Create_DT" : "1883", "_Disp_Start_Dat" : "1883", "_Disp_End_Date" : "1883", "Disp_Title" : "The Printseller's Window", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Walter Goodman", "Sort_Artist" : "Goodman, Walter", "Disp_Dimen" : "52 1/4 x 44 3/4 in. (132.7 x 113.7 cm)", "Disp_Height" : "52 1/4 in.", "Disp_Width" : "44 3/4 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Painted in the illusionistic technique of trompe l’oeil (French for “fool the eye),” The Printseller depicts a heavily-bearded shopkeeper cradling a small statuette of Cupid. The display case before him contains a variety of objects, including prints, books, coins in a porcelain dish, a magnifying glass, a wineglass, a strand of pearls and a metal tankard. Many of the prints are reproductions of famous paintings that would have been familiar to Walter Goodman’s audience of the early 1880s. A string of small photographs called cartes-de-visites stretches across the display case. These small photographic portraits, sized to mount on a visiting card, became extremely popular; a craze developed for collecting the cartes of celebrities as well as family and friends. Here, each represents a famous Victorian painter of Goodman’s time, including John Everett Millais, Rosa Bonheur, and Lawrence Alma-Tadema (fourth, sixth, and ninth from the left, respectively). A larger photographic portrait of the famous art critic John Ruskin is located in the center directly below the string of cartes. Although relatively unknown, Walter Goodman was an interesting and practiced artist with a varied career as a portraitist, illustrator and writer. Of Jewish heritage, he was the son of portraitist Julia Salaman Goodman. He was widely traveled and an intimate member of London’s theatrical society. He exhibited at the Royal Academy and the British Institution. ", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "British", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/98.75_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/98.75_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/98.75_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/98.75_A3.jpg", "IsPrimary" : "0", "_SurrogateID" : "27092", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/98.75_A4.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/98.75_A4.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/98.75_A4.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/98.75_A4.jpg", "IsPrimary" : "1", "_SurrogateID" : "29175", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Scanned by Andy Olenick April 2009 from a 2000 transparency shot by James Via. Master exists only in TIF form, not DNG. On disk 090407", "View" : "" } , ] },{ "embark_ID" : 4807, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4807", "Disp_Access_No" : "1978.2", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1789", "_Disp_Start_Dat" : "1784", "_Disp_End_Date" : "1794", "Disp_Title" : "Mrs. John Addison (Lucy Clark)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "John Hoppner", "Sort_Artist" : "Hoppner, John", "Disp_Dimen" : "28 x 21 in. (71.1 x 53.3 cm)", "Disp_Height" : "28 in.", "Disp_Width" : "21 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Having a portrait painted by a noted artist such as John Hoppner was a mark of status; decades later, American collectors still enjoyed the prestige of owning portraits of European gentry. Even into the twentieth century, America was seen as a young country, and newly-wealthy Americans could “borrow” the pedigree that accompanied the sitter by displaying these portraits. Comprehensive estate taxes were introduced in England in 1894, and in the years that followed, families were forced to sell off some of their family holdings, including real estate, household belongings, and works of art, to pay these death duties. At the same time, wealthy American industrialists like George Eastman, who owned this painting and several other British portraits, were building their art collections, and bought family portraits as well as Old Master works as they came on the market. Little is known of Mrs. Addison; her husband was in the civil service of the East India Company, and they lived in India for much of their married life. [Gallery label text, 2008] ", "Dedication" : "George Eastman Collection of the University of Rochester", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "British", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/78.2_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/78.2_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/78.2_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/78.2_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "13080", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4809, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4809", "Disp_Access_No" : "1955.180", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1760-1771", "_Disp_Start_Dat" : "1760", "_Disp_End_Date" : "1771", "Disp_Title" : "The Riva degli Schiavoni, Venice, Looking West", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "William James", "Sort_Artist" : "James, William", "Disp_Dimen" : "25 3/4 x 40 in. (65.4 x 101.6 cm)", "Disp_Height" : "25 3/4 in.", "Disp_Width" : "40 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "The waterfront promenade of the Riva degli Schiavoni, or River of the Slavs, has long been one of the most picturesque and popular in Venice. Paintings by the great Canaletto and his British followers like William James show the bustling of gondolas, sailing boats and barges; the promenade itself is equally lively with travelers, merchants and townspeople actively engaged in both commerce and recreation. [Gallery label text, 2008]", "Dedication" : "Gift of Mr. and Mrs. Harold L. Field", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "British", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "1955 - The painting was given to the Gallery as a Canaletto (certified by the Gallery it was purchased from, Howard Young Galleries, and endorsed by Dr. W. R. Valentiner). 1970 – note to file from Harris Prior, Memorial Art Gallery Director, “The young gentleman, David Posnett, from the Leger Galleries in London was here last winter. He looked at our Canaletto and immediately said that it is by William James, an English associate of Canaletto.” In addition, there are numerous references throughout the file about scholars viewing the painting and finding the early attribution to Canaletto dubious due to the style. Unfortunately, not all previous curators were fanatical about documenting such information, so we do not know exact names. Since then there have been numerous William James’ views of Venice that have been compared to the MAG painting (photocopies in file) and have been found to have a similar style. James flourished between 1760 and 1771, hence our dating for the painting. An identical painting hangs at the Sir John Soane Museum in London.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/55.180_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/55.180_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/55.180_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/55.180_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "26217", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Note that master image includes frame; it has been cropped out for this view.", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/55.180_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/55.180_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/55.180_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/55.180_A3.jpg", "IsPrimary" : "0", "_SurrogateID" : "27901", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "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" : 4821, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4821", "Disp_Access_No" : "1977.2", "_AccNumSort1" : "", "Disp_Create_DT" : "after 1782", "_Disp_Start_Dat" : "1783", "_Disp_End_Date" : "1792", "Disp_Title" : "Eleanor Todd, Lady Maitland (1762-1856)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "George Romney", "Sort_Artist" : "Romney, George", "Disp_Dimen" : "30 x 25 in. (76.2 x 63.5 cm)", "Disp_Height" : "30 in.", "Disp_Width" : "25 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "This unfinished portrait depicts Eleanor Todd, who became Lady Maitland in 1782 when she married James, Viscount Maitland, eighth Earl of Lauderdale. Although it is not known why the portrait was never completed, at this point in his career, Romney had a large number of unfinished paintings in his studio. Sitters were required to pay half his fee before the painting could commence, but the daunting schedule of sittings and the artist’s demands for specific poses and clothing dissuaded some clients from continuing the professional relationship. Still, the presence of half-finished portraits in the studio served as a sort of showcase, enabling potential subjects to see examples of Romney’s work. [Gallery label text, 2008]", "Dedication" : "George Eastman Collection of the University of Rochester", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "British", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/77.2_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/77.2_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/77.2_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/77.2_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "43071", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4820, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4820", "Disp_Access_No" : "1976.24", "_AccNumSort1" : "", "Disp_Create_DT" : "1784", "_Disp_Start_Dat" : "1784", "_Disp_End_Date" : "1784", "Disp_Title" : "James Clitherow (1766-1841)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "George Romney", "Sort_Artist" : "Romney, George", "Disp_Dimen" : "30 x 25 in. (76.2 x 63.5 cm)", "Disp_Height" : "30 in.", "Disp_Width" : "25 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Romney must have been well acquainted with James Clitherow as a young man: he made two portraits of him, as well as a replica, all within a span of a year. Clitherow, who had recently graduated from Oxford at the time this portrait was made, appears thoughtful and composed, demonstrating his erudition by holding a book. Newspaper accounts describe the portrait as having been painted for a price of just over £20. Romney directs the viewer’s focus by sketching Clitherow’s hands and stock, or neckcloth, only loosely; he concentrates instead on the details of the head, coat, and chair. [Gallery label text, 2008] ", "Dedication" : "George Eastman Collection of the University of Rochester", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "British", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Other portraits of Clitherow by Romney: a replica of MAG''s at Detroit, painted in 1785; another version still at Boston House, Middlesex, England. See curatorial file for photos. A painting of a child entitled "Master Clitherow" is in the collection of the Snite Museum of Art at Notre Dame, but it is dated ca. ten years after MAG''s portrait, and the 1904 catalogue raisonne does not list a portrait of any Clitherow other than James. There has been great confusion between the provenance of MAG''s painting and the one at the DIA; Duveen''s and Knoedler''s records online show that the DIA painting is the replica and the one given by the family to Dr. George Cooper (1792-1877), then his son Dr. Clarence Cooper (1830-1924), South Norwood Park, London, England; his sale, Christie''s, London, June 13, 1913; purchased at that sale by Asher Wertheimer (1844-1918), London; Duveen, London; to Mrs. J. S. Holden, the DIA''s donor.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/76.24_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/76.24_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/76.24_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/76.24_A3.jpg", "IsPrimary" : "1", "_SurrogateID" : "43070", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "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" : 4824, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4824", "Disp_Access_No" : "1968.61", "_AccNumSort1" : "", "Disp_Create_DT" : "between 1844 and 1865", "_Disp_Start_Dat" : "1844", "_Disp_End_Date" : "1865", "Disp_Title" : "The First Whisper of Love", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "George Frederick Watts", "Sort_Artist" : "Watts, George Frederick", "Disp_Dimen" : "16 1/2 x 13 1/2 in. (41.9 x 34.3 cm)", "Disp_Height" : "16 1/2 in.", "Disp_Width" : "13 1/2 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "panel", "Disp_Medium" : "Oil on panel", "Info_Page_Comm" : "As a young man, George Frederick Watts briefly studied at the Royal Academy, and he was a friend and peer of both academic and Pre-Raphaelite artists, but his brushwork was looser than that utilized by either of those schools, and his subject matter generally more mystical than literary or historical. Here, Cupid distracts a youth holding a bow by whispering in his ear. It was not uncommon for Watts to paint multiple versions of a composition, and this is one of four versions of this painting. As early as 1844, the artist gave sketches of the composition to a sweetheart, but the degree of finish to this canvas suggests a date later in his career. Watts was known to rework his paintings over a long period of time, so it may have been started in the 1840s and not considered finished for many years. An intriguing comparison is an 1865 portrait of the artist taken by famed Victorian photographer Julia Margaret Cameron: Whisper of the Muse depicts a similar scene, with a youthful muse providing inspiration to Watts, who poses as a musician. [Gallery label text, 2011]", "Dedication" : "Gift of Dr. Robert F. Metzdorf", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "British", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/68.61_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/68.61_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/68.61_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/68.61_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "22377", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "On disk MAG v. 56", "View" : "" } , ] }, ] }