{ "objects" : [ { "embark_ID" : 214, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/214", "Disp_Access_No" : "1992.78", "_AccNumSort1" : "", "Disp_Create_DT" : "1865", "_Disp_Start_Dat" : "1865", "_Disp_End_Date" : "1865", "Disp_Title" : "The Sierras Near Lake Tahoe, California", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Albert Bierstadt", "Sort_Artist" : "Bierstadt, Albert", "Disp_Dimen" : "14 15/16 x 21 1/16 in. (38 x 53.5 cm)", "Disp_Height" : "14 15/16 in.", "Disp_Width" : "21 1/16 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "panel", "Disp_Medium" : "Oil on panel", "Info_Page_Comm" : "Bierstadt was one of the most gifted artists to depict the stunning mountain views of the expanding frontier, far west of the Hudson River region that had inspired earlier American landscape painters. He was a member of the generation of artist-explorers who traveled with expeditions or in their footsteps and recorded the visual experience. MAG's painting quietly but masterfully convinces us of the grandeur of mountains and sky by including the tiny deer to give a sense of scale, and by suffusing the surface of the painting with a warm, glowing palette. ", "Dedication" : "Clara and Edwin Strasenburgh Fund and Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/92.78_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/92.78_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/92.78_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/92.78_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12517", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Note: Master image contains wrong accession # from photoshoot: 75.21. Print Master derived from Digital Master for Seeing America Pachyderm project August 2008. Needs curatorial approval for other uses.", "View" : "" } , ] },{ "embark_ID" : 228, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/228", "Disp_Access_No" : "1984.47", "_AccNumSort1" : "", "Disp_Create_DT" : "1846", "_Disp_Start_Dat" : "1846", "_Disp_End_Date" : "1846", "Disp_Title" : "The Indian Hunter", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "DeWitt Clinton Boutelle", "Sort_Artist" : "Boutelle, DeWitt Clinton", "Disp_Dimen" : "32 5/8 x 47 1/8 in. (82.9 x 119.7 cm)", "Disp_Height" : "32 5/8 in.", "Disp_Width" : "47 1/8 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/84.47_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/84.47_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/84.47_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/84.47_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12494", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Print Master derived from Digital Master for Seeing America Pachyderm project August 2008. Needs curatorial approval for other uses. Color was adjusted closer to the scan in the Seeing America book...less yellow than Access image shown here.", "View" : "" } , ] },{ "embark_ID" : 278, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/278", "Disp_Access_No" : "1994.40", "_AccNumSort1" : "", "Disp_Create_DT" : "1846-1847", "_Disp_Start_Dat" : "1846", "_Disp_End_Date" : "1847", "Disp_Title" : "Genesee Scenery", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Thomas Cole", "Sort_Artist" : "Cole, Thomas", "Disp_Dimen" : "6 1/4 x 4 3/8 in. (15.9 x 11.1 cm)", "Disp_Height" : "6 1/4 in.", "Disp_Width" : "4 3/8 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "panel", "Disp_Medium" : "Oil on panel", "Info_Page_Comm" : "Like many artists, Thomas Cole traveled extensively, sketching views that he would later include in finished (and much larger) paintings. On a trip to the Upstate New York region, he sketched Deh-ga-ya-soh Creek at what is now Letchworth State Park in Mount Morris. Later that year, he used the sketch to create this study, which ultimately became the subject of the 'Genesee Scenery' (1847, 51 x 39 1/2 inches, owned by the Museum of Art, Rhode Island School of Design). [Adapted from gallery label text, 2007]", "Dedication" : "Gift of Howard and Florence Merritt", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : ""Thomas Cole: Landscape into History" has picture of the finished version, ''Genesee Scenery,'' 1847, which is owned by The Museum of Art, Rhode Island School of Design, Providence. Subject of the painting is Oay-ga-ya-soh Creek at Letchworth State Park in Mount Morris, New York, identified by Letchworth park rangers.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/94.40_R1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/94.40_R1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/94.40_R1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/94.40_R1.jpg", "IsPrimary" : "0", "_SurrogateID" : "12634", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "THIS PAINTING IS NOT IN THE MAG COLLECTION. complete credit line: Museum of Art, Rhode Island School of Design; Jesse Metcalf Fund", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/94.40_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/94.40_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/94.40_A1.jpg", "IIIF_URL": 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(26.4 x 42.9 cm)", "Disp_Height" : "10 3/8 in.", "Disp_Width" : "16 7/8 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/73.39_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/73.39_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/73.39_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/73.39_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12455", "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" : 352, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/352", "Disp_Access_No" : "1974.5", "_AccNumSort1" : "", "Disp_Create_DT" : "1860", "_Disp_Start_Dat" : "1860", "_Disp_End_Date" : "1860", "Disp_Title" : "Genesee Oaks", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Asher Brown Durand", "Sort_Artist" : "Durand, Asher Brown", "Disp_Dimen" : "28 1/4 x 42 in. (71.8 x 106.7 cm)", "Disp_Height" : "28 1/4 in.", "Disp_Width" : "42 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Asher B. Durand was commissioned to paint this magnificent vista overlooking the Genesee River Valley in Geneseo, New York, by a member of the Wadsworth family, the village founders. At one time, they owned all the land from Geneseo to Rochester. [Gallery label text, 2007] No matter what the weather, this view across the Genesee Valley near Geneseo is as breathtaking now as it was over two hundred years ago, when landowner James S. Wadsworth commissioned Hudson River school founder Asher B. Durand to record the beauty of the landscape in a painting. In the summer of 1859, Durand traveled from New York City to the Genesee Valley to make preparatory sketches. Trained as an engraver, he recorded many of the details that he saw, but in addition, his personal belief in the immanence of the divine in the natural world motivated him to present a landscape that seems to extend infinitely. Statuesque oak trees, many of which are still standing on the land, dominate the painting. In this region, the trees were more than a decorative feature. When the Wadsworths began to sell and lease land to local farmers, they included a clause in the contract requiring that a number of trees remain after the land was cleared. This was a holdover from British husbandry; the result was a countryside that was not only beautiful but that provided sun and moisture control for humans and animals alike. Genesee Oaks was Durand's tribute to the splendor of this valley. [Gallery label text] Durand visited the Genesee country but once, sketching in the Geneseo area during late June and July of 1859. Of his trip he wrote to his son in August: "With all my troubles I believe I have learnt more about the management of colors in the painting of trees than by all my previous practice, altho' I have never produced so little in the same span of time, not having made but four studies in five weeks." During the following year, back in his studio, Durand painted Genesee Oaks, based on the sketches he had made. The painting was commissioned by James Samuel Wadsworth, a local squire, who owned the work when it was exhibited at the National Academy of Design in 1861. Seven oil studies done near Geneseo in 1859 are photographed in Durand's studio after 1878. A photograph shows three small sculptures of cows, two standing, one reclining that may have served as models for the animals in the painting. Howard S. Merritt Peters, Susan Dodge, ed. Memorial Art Gallery: An Introduction to the Collection. (Rochester, NY: The Memorial Art Gallery, 1988). p.182-3.", "Dedication" : "Gift of the Women's Council in honor of Harris K. Prior", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/74.5_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/74.5_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/74.5_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/74.5_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12463", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 391, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/391", "Disp_Access_No" : "1942.45", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1850-1860", "_Disp_Start_Dat" : "1850", "_Disp_End_Date" : "1860", "Disp_Title" : "Portrait of Sophia Josephine Dixon", "Alt_Title" : "Mrs. Robert Fulton White", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Jefferson Gauntt", "Sort_Artist" : "Gauntt, Jefferson", "Disp_Dimen" : "50 1/4 x 40 1/8 in. (127.6 x 101.9 cm)", "Disp_Height" : "50 1/4 in.", "Disp_Width" : "40 1/8 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Attributed to Jefferson Gauntt American, 1806 – 1864 Sophia Josephine Dixon, born circa 1852 - date of death unknown Hiram, Angeline and daughter, Sophia Josephine Dixon portraits are not signed or dated. We believe all three were painted by the same artist, Jefferson Gauntt. The Dixon family’s life dates have been obtained through research. Based on these dates we speculate the portraits were painted between 1840 and 1860. Tombstone, Oct. 2010, Colleen Piccone A favorite of MAG visitors, the portrait of Sophia Josephine Dixon was conserved in 2006 through a Lower Hudson Conference Conservation Treatment Grant and has been on view in the 19th century American gallery. We are happy to reunite her with her parents, Hiram and Angeline Dixon, whose portraits were conserved in 2008 through the Henry Luce Foundation American Art Conservation Grant. This is the first time that MAG has exhibited the portraits together as a family. They were given to the Gallery by Sophia Josephine’s daughter, Mrs. George B. Penny. The Dixons’ daughter, Sophia Josephine, holds her pet goldfinch on a string, illustrating her patience and nurturing nature in training a wild bird as her pet. Her white dress with blue ribbon sash, lace pantaloons and straw hat are those of a well-bred young girl from a successful American family. In the early nineteenth century, girls were generally depicted in domestic settings. By 1831, however, “The Mother’s Book” by Lydia Child argued that girls as well as boys would benefit from open air and should be allowed to play outside. The Dixon family lived north of New York City, first in Hudson, NY and then in Tarrytown, NY. Excerpted from installation text, Oct. 2010 Colleen Piccone, Curatorial Dept. ", "Dedication" : "Gift of Mrs. George Barlow Penny", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Parent" : [ { "Rel_Obj_ID" : "392", "Rel_Obj_Title" : "Portrait of Angeline Wildey Dixon (1817 - 1903)" } ], "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/42.45_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/42.45_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/42.45_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/42.45_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12363", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 958, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/958", "Disp_Access_No" : "1966.18", "_AccNumSort1" : "", "Disp_Create_DT" : "1876", "_Disp_Start_Dat" : "1876", "_Disp_End_Date" : "1876", "Disp_Title" : "The West Wind", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Thomas Ridgeway Gould", "Sort_Artist" : "Gould, Thomas Ridgeway", "Disp_Dimen" : "70 1/2 x 23 x 33 1/4 in. (179.1 x 58.4 x 84.5 cm)", "Disp_Height" : "70 1/2 in.", "Disp_Width" : "23 in.", "Dimen_Extent" : "", "Medium" : "Marble", "Support" : "", "Disp_Medium" : "Marble", "Info_Page_Comm" : "Who was the West Wind? In Greek mythology, the West Wind was Zephyrus, one of the four wind gods. Perhaps the maker of this work, who was influenced by the mythological subjects that he saw in Italy, was describing the West Wind by showing its effect on the figure’s hair and skirt. Another interpretation suggests that the sculpture is an idealized expression of the United States’s westward expansion. It was exhibited at the Centennial Exhibition in Philadelphia on the occasion of the nation’s hundredth birthday in 1876. The starred belt on the waistband of the figure’s clothing could refer to the stars on the American flag. When English poet Percy Shelley wrote his Ode to the West Wind in 1820, he closed it with these immortal words: O Wind, If Winter comes, can Spring be far behind? [Gallery label text, 2004] ", "Dedication" : "Gift of the Isaac Gordon Estate through the Lincoln Rochester Trust Company", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "No. II under "Statuary" in Daniel Powers'' collection catalogue of 1888. ", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/66.18_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/66.18_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/66.18_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/66.18_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12432", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Print Master derived from Digital Master for Seeing America Pachyderm project August 2008.", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/powersbuilding2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/powersbuilding2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/powersbuilding2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/powersbuilding2.jpg", "IsPrimary" : "0", "_SurrogateID" : "17392", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Contemporary photo of the Powers Building.", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/66.18_R1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/66.18_R1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/66.18_R1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/66.18_R1.jpg", "IsPrimary" : "0", "_SurrogateID" : "23163", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "image derived from Seeing America tiff", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/66.18_A3.JPG", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/66.18_A3.JPG", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/66.18_A3.JPG", "IIIF_URL": "http://iiif.gallerysystems.com/66.18_A3.JPG", "IsPrimary" : "0", "_SurrogateID" : "28576", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Taken at Kwanzaa Family Day, 2008", "View" : "" } , ] },{ "embark_ID" : 13365, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13365", "Disp_Access_No" : "2005.33", "_AccNumSort1" : "", "Disp_Create_DT" : "1837", "_Disp_Start_Dat" : "1837", "_Disp_End_Date" : "1837", "Disp_Title" : "Pittsford on the Erie Canal", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "George Harvey", "Sort_Artist" : "Harvey, George", "Disp_Dimen" : "17 1/2 x 23 1/2 in. (44.5 x 59.7 cm)", "Disp_Height" : "17 1/2 in.", "Disp_Width" : "23 1/2 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "panel", "Disp_Medium" : "Oil on panel", "Info_Page_Comm" : "This scene is thought to be in the vicinity of King’s Bend Park just outside of Pittsford Village. [Gallery label text, 2007]", "Dedication" : "Gift of the Margaret M. McDonald Memorial Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2005.33_A5.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.33_A5.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2005.33_A5.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2005.33_A5.jpg", "IsPrimary" : "1", "_SurrogateID" : "27616", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "On disk dated 1-16-05", "View" : "" } , ] },{ "embark_ID" : 442, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/442", "Disp_Access_No" : "1976.3", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1890", "_Disp_Start_Dat" : "1885", "_Disp_End_Date" : "1895", "Disp_Title" : "Hummingbird with Cattleya and Dendrobium Orchids", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Martin Johnson Heade", "Sort_Artist" : "Heade, Martin Johnson", "Disp_Dimen" : "22 1/4 x 14 3/8 in. (56.5 x 36.5 cm)", "Disp_Height" : "22 1/4 in.", "Disp_Width" : "14 3/8 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Two masterpieces of nature – the hummingbird and the orchid – were subjects that Martin Johnson Heade painted repeatedly. Beginning in 1863, Heade made the first of three trips to Brazil to paint the bird that remained a life-long obsession. Heade wrote, “A few years after my appearance in this breathing world I was attacked by the all-absorbing hummingbird craze and it has never left me since.” The exotic South American jungle was a far cry from the marshes and fields of Heade’s native New England, but both landscapes inspired his passion for the natural world and nurtured the intertwined development of his scientific interest and his artistic brilliance. [Gallery label, 2009]", "Dedication" : "Harris K. Prior Memorial Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "The hummingbird in this painting is a Calliphlox amethystina", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/76.3_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/76.3_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/76.3_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/76.3_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12471", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 614, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/614", "Disp_Access_No" : "1978.189", "_AccNumSort1" : "", "Disp_Create_DT" : "1835-1836", "_Disp_Start_Dat" : "1835", "_Disp_End_Date" : "1836", "Disp_Title" : "Pierrepont Edward Lacey (1832 - after 1860) and His Dog, Gun", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Milton W. Hopkins", "Sort_Artist" : "Hopkins, Milton W.", "Disp_Dimen" : "42 x 30 1/8 in. (106.7 x 76.5 cm)", "Disp_Height" : "42 in.", "Disp_Width" : "30 1/8 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "The Lacey family lived and farmed in Scottsville, New York, a small village south of Rochester on the Oatka Creek. Like many families of means, they used the services of a local artist to have their likenesses painted, since photography as we know it did not exist. For many years, this artist was thought to be Noah North, but recent scholarship points to Milton Hopkins, with whom North probably apprenticed. Painting was not Hopkins' sole occupation. As well, he farmed and was a carriage and sign painter, and was involved in anti-Masonic, abolitionist, and temperance politics. Pierrepont Lacey was born in 1832, and like many little boys, he probably was not comfortable posing for a painting in his best clothes. The family dog, Gun, most likely didn't stand still for long, either, so it may have been quite a challenge for the artist to capture the likenesses of boy and dog. When Pierrepont was fifteen, his family moved to Marshall, Michigan. He grew up, married, and was the father of one son. Milton Hopkins moved to Ohio shortly after this portrait was painted, where he continued to paint portraits and work for the Underground Railroad. [Gallery label text, 2000] Like many young boys, Pierrepont Lacey was probably not comfortable posing for a painting dressed in his best suit and red shoes. Gun, the family dog, was most likely a restless subject for the artist to capture, as well. There are six known portraits by Hopkins showing children dressed in their finest clothes, often accompanied by their dogs. All of the children’s parents were connected to the artist through their activities in anti-Masonic, abolitionist, and temperance politics. MAG’s nearly full-size portrait is one of the most engaging likenesses done by Hopkins and has become an American folk art icon. [Excerpted from gallery label text, Oct. 2011, Colleen Piccone, Curatorial] The Lacey family, whose portraits are on view nearby, lived in this home at 9 Scottsville-Chili Road in Scottsville, New York in the 1830s, where it is believed their portraits were painted and first hung. Two children in this 1890s photograph were relatives of the Lacey family. The girl on the far left was Ruth Hanford (Munn), in whose memory the portraits were given to the Memorial Art Gallery. The paintings were passed down through the generations in this family home until 1932, when they were presented on the occasion of a marriage and moved to a new home in Cambridge, Massachusetts. In 1978, the generous owners donated the group of family heirlooms to the Memorial Art Gallery, to be enjoyed by its many visitors. [Excerpted from gallery text panel, Oct. 2011, Colleen Piccone, Curatorial}] ", "Dedication" : "Gift of Mr. and Mrs. Robert H. Dunn in memory of Ruth Hanford Munn and James Buell Munn", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Sibling" : [ { "Rel_Obj_ID" : "612", "Rel_Obj_Title" : "Ann Gennett Pixley Lacey (1809 - 1841)" },{ "Rel_Obj_ID" : "613", "Rel_Obj_Title" : "Eliza Pixley Lacey (1834 - 1839)" } ], "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/78.189_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/78.189_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/78.189_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/78.189_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12478", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/78.187-191_R1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/78.187-191_R1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/78.187-191_R1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/78.187-191_R1.jpg", "IsPrimary" : "0", "_SurrogateID" : "18242", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Also on CD, the 2 images from which the restored image was created: Lacey House Scottsville A.tif (78.187-191_R2.tif on print master folder), and Lacey House Scottsville B.tif (78.187-191_R3.tif).", "View" : "" } , ] },{ "embark_ID" : 489, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/489", "Disp_Access_No" : "1975.138", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1876", "_Disp_Start_Dat" : "1871", "_Disp_End_Date" : "1881", "Disp_Title" : "Back from the Orchard", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Eastman Johnson", "Sort_Artist" : "Johnson, Eastman", "Disp_Dimen" : "10 3/8 x 6 5/8 in. (26.4 x 16.8 cm)", "Disp_Height" : "10 3/8 in.", "Disp_Width" : "6 5/8 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "board", "Disp_Medium" : "Oil on board", "Info_Page_Comm" : "", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.138_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.138_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.138_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.138_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12465", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 549, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/549", "Disp_Access_No" : "1941.30", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1840", "_Disp_Start_Dat" : "1835", "_Disp_End_Date" : "1845", "Disp_Title" : "Judge and Mrs. Arthur Yates", "Alt_Title" : "Conversation Piece", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "M. M. Manchester", "Sort_Artist" : "Manchester, M. M.", "Disp_Dimen" : "36 x 58 3/4 in. (91.4 x 149.2 cm)", "Disp_Height" : "36 in.", "Disp_Width" : "58 3/4 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "This grand portrait might have been a focal point in Judge and Mrs. Yates’s parlor. Judge Yates built the first steam saw mill in Tioga County, and was justice of the peace and postmaster. Whether the furnishings, book, and clothing accurately depict the Yates’s possessions is impossible to say. They are meant to convince us of the pair’s position within the local gentry. Yards of satiny fabric held in place by a curtain holdback speak of luxury. Mrs. Yates’s jewelry, lace collar, cuffs and trimmed handkerchief, were the accoutrements of a lady of means. Judge Yates holds a book by English theologian William Paley entitled Natural Theology, a text regularly consulted by well-read gentlemen of the 19th century. While we know very little about Mr. Manchester, the artist, we can safely say that he was familiar with the grand tradition of portraiture that frequently placed subjects within ennobling, but not always authentic, settings. [Gallery label text, 2002]", "Dedication" : "Gallery Purchase", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Exhibited in the 1940s with the title "Conversation Piece"", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/41.30_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/41.30_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/41.30_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/41.30_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12357", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4477, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4477", "Disp_Access_No" : "1991.35", "_AccNumSort1" : "", "Disp_Create_DT" : "1864", "_Disp_Start_Dat" : "1864", "_Disp_End_Date" : "1864", "Disp_Title" : "Towing a Boat, Honfleur", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Claude Monet", "Sort_Artist" : "Monet, Claude", "Disp_Dimen" : "21 3/4 x 32 5/16 in. (55.2 x 82.1 cm)", "Disp_Height" : "21 3/4 in.", "Disp_Width" : "32 5/16 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : ""All that is painted directly, at a given moment, has a force, power, and vitality which can never be duplicated in a studio." --Eugène Boudin, to his student Claude Monet Claude Monet’s early paintings were solidly grounded in the work of the preceding generation of French landscape painters called the Barbizon school. Their insistence on painting en plein air, or out of doors, led to Monet’s passion for capturing the transience of light. Towing a Boat, Honfleur, painted ten years before the term Impressionism was coined, captures the moment that night overtakes sunset. It is one of the earliest of Monet’s many seascapes. As an experiment in reproducing the changing effects of light under different atmospheric conditions, the painting shows his process of abstracting nature into simplified forms and exaggerated color contrasts. [Label copy from Monet: Vision and Process exhibition, 2018]", "Dedication" : "Gift of Marie C. and Joseph C. Wilson", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "French", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/91.35_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/91.35_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/91.35_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/91.35_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "25404", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 633, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/633", "Disp_Access_No" : "1984.22", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1834", "_Disp_Start_Dat" : "1829", "_Disp_End_Date" : "1839", "Disp_Title" : "Old Woman with a Bible", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Ammi Phillips", "Sort_Artist" : "Phillips, Ammi", "Disp_Dimen" : "33 1/2 x 28 in. (85.1 x 71.1 cm)", "Disp_Height" : "33 1/2 in.", "Disp_Width" : "28 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "linen", "Disp_Medium" : "Oil on linen", "Info_Page_Comm" : "We take for granted the ability to record our families' faces. Even the likenesses of those long-dead are etched in our memories by their photographs. But before cameras and film, the only way to save a "likeness" was to create a life or death mask, draw or paint a picture, or make a sculpture. In rural New York State, many portraits were done by painters like Ammi Phillips who had a minimal amount of training. Their customers, in turn, passed paintings down through the generations until all too often, the identity of the sitters was lost. If we don't know whose portrait this was, and if Ammi Phillips was not an academically trained artist, why do we continue to appreciate this work and keep it in a museum? The directness of human spirit that these paintings convey combined with the intricacy of design and patterning create a work filled with the "visual delight" that we search for in a work of art. [Gallery label text, 2008] This woman’s identity has not been preserved, but we might speculate with confidence that she was a devout person, as her arm is placed so firmly on the Bible. Notice, too, how carefully the artist painted the fabric of her day-cap, the embroidery on her shawl, and even the tasseled trim of the curtains. [Gallery label text, 2008]", "Dedication" : "Beatrice M. Padelford Trust", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/84.22_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/84.22_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/84.22_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/84.22_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12492", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2325, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2325", "Disp_Access_No" : "1991.73", "_AccNumSort1" : "", "Disp_Create_DT" : "1854", "_Disp_Start_Dat" : "1854", "_Disp_End_Date" : "1854", "Disp_Title" : "The County Election (after George Caleb Bingham)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "John Sartain", "Sort_Artist" : "Sartain, John", "Disp_Dimen" : "25 5/8 x 32 3/16 in. (65.1 x 81.8 cm)", "Disp_Height" : "25 5/8 in.", "Disp_Width" : "32 3/16 in.", "Dimen_Extent" : "", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Hand-colored line, stipple and mezzotint engraving", "Info_Page_Comm" : "This scene is a commentary on American elections as well as on a specific Election Day in 1850. On that day, in Saline County, Missouri, the artist George Caleb Bingham ran for a place in the State Legislature. E. D. Sappington, the candidate lifting his shiny top hat, was the winner. Sappington, with his workers, tried to buy votes with liquor, and because he was related to the judge and one of the clerks, the election’s outcome aroused suspicion. While Bingham did not contest the results, The County Election makes a powerful statement about his thoughts concerning the corrupt proceedings. The artist represents himself as the figure in the stovepipe hat seated on the courthouse steps, attended by a friendly dog and two men in white hats who pause to look over his shoulder. John Sartain was a highly successful engraver and publisher. He is well-known for his mezzotints of paintings by some of America’s major artists, including Emanuel Leutze and Thomas Sully. His descendants continued to make important contributions to the world of 19th century American art. [Gallery label text, October 2010]", "Dedication" : "Marion Stratton Gould Fund", "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/91.73_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/91.73_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/91.73_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/91.73_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "18944", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 720, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/720", "Disp_Access_No" : "1988.6", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1852", "_Disp_Start_Dat" : "1847", "_Disp_End_Date" : "1857", "Disp_Title" : "Peeling Onions", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Lilly Martin Spencer", "Sort_Artist" : "Spencer, Lilly Martin", "Disp_Dimen" : "36 x 29 in. (91.4 x 73.7 cm)", "Disp_Height" : "36 in.", "Disp_Width" : "29 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Gift of the Women's Council in celebration of the 75th anniversary of the Memorial Art Gallery", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/88.6_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/88.6_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/88.6_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/88.6_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12511", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 761, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/761", "Disp_Access_No" : "1947.19", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1840", "_Disp_Start_Dat" : "1835", "_Disp_End_Date" : "1845", "Disp_Title" : "Outlet of Lake George", "Alt_Title" : "Outlet of Lake George - Rogers Rock in the Distance", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Jacob C. Ward", "Sort_Artist" : "Ward, Jacob C.", "Disp_Dimen" : "21 3/4 x 30 in. (55.2 x 76.2 cm)", "Disp_Height" : "21 3/4 in.", "Disp_Width" : "30 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Sometimes referred to as "Outlet of Lake George - Rogers Rock in the Distance" From "The New Yorker," April 25, 1840, p. 81 "The Wilds of Lake George." "[Suggested by a Painting of ''The Outlet of Lake George,'' engraved for the Title-Page of the Quarto New-Yorker, Vol. VIII., just issued.--by Alfred B. Street.]" "Grand pomp of the Wilderness! solemn and wild, Magnificent temple, for the Solitude piled! Its columns the rocks, and canopy, sky; Its huge mountain-altar reared proudly on high. Round circle the Seasons: Spring dances along-- It is breathing with fragrance and vocal with song; Its grass-carpet lifts to the steps of her showers; At the wand of her sunbeam come thronging its flowers. Bright, beautiful Summer her thick garlands weaves, And its depths are made dim with her mantle of leaves; There''s dancing of shadows in ebony gloss, And gold-slants and sprinkles on blossoms and moss. Gay alchymist Autumn transmutes, and behold! The emerald changed to rich crimson and gold; There''s a glitter of gems--a proud blazon of hues, And silver mists forming, to melt with the dews; The Moon''s splendor streams with more pomp from on high, And the star-clusters glow with more light in the sky. Wild Winter on rushes, with clouds o''er his brow, His war-steed the tempest--his banner the snow; The temple stands blighted and mute at his glance, The glitter has faded, and past is the dance, Till Spring, with her soft looks and sweet smiles, again Breathes joy, as the Despot abandons his reign. And music, sweet music, the temple gives forth When Winter has reached his stern home in the North; The torrent-like stream, as, mad-foaming, it bounds, Loud raises, unceasing, its organ-like sounds; There are voices of birds, and a murmur of bees, And soft strains of wind-harps breathed low through the trees, And thunder o''er rolling, and lanching its crash, And the strong sheeted rains, as fierce downward they dash, And the wild blast, as onward it rages and shoots, Whirling boughs from their trees--wrenching trees from their roots-- The bee-song--the blast hymn--the chant of the flood, Send upward in praise to their Maker and God. And other sounds forth, too, this temple hath cast, Stern, loud as the thunder, and fierce as the blast, When Tyranny''s hordes, grasping fetters, were led O''er a region that shuddered in wrath at their tread; In an air that grew black, as their banners it fanned, Till the fierce storm of Vengeance thick curtained the land. ''T was the war-shout of Freedom! and echoed by men She poured down the mountain and rallied in glen, As proudly she spread her pure flag for the fray, And her young Eagle stretched his strong wings on her way. Oh, what though to earth that starred banner was cast! Oh, what though those wings were crushed down by the blast! Brave hearts bore that banner--''t was lifted anew; High hopes cheered those pinions--more lofty they flew; Till Victory, loud as the roar of the sea, In heart bursts was shouted by men that were Free!", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/47.19_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/47.19_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/47.19_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/47.19_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12372", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4784, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4784", "Disp_Access_No" : "1983.55", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1850-1900", "_Disp_Start_Dat" : "1850", "_Disp_End_Date" : "1900", "Disp_Title" : "Rama, Sita and Lakshmana Return to Ayodhya", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Indian", "Sort_Artist" : "Unknown, Indian", "Disp_Dimen" : "11 1/4 x 17 15/16 in. (28.6 x 45.6 cm)", "Disp_Height" : "11 1/4 in.", "Disp_Width" : "17 15/16 in.", "Dimen_Extent" : "sheet (irregular)", "Medium" : "Opaque watercolor", "Support" : "paper", "Disp_Medium" : "Opaque watercolor, ink, silver and gold paint on paper", "Info_Page_Comm" : "This painting shows a scene at the end of the epic Indian poem, The Ramayana. Rama and Lakshmana have saved Sita and they all fly home on the aerial chariot Pushpaka to see Rama crowned king of Ayodhya. They ride with twenty-three million monkeys and bears who helped them defeat the demon king Ravana. When Ravana asked Brahma to make him indestructible to gods and demons, he underestimated the power of ordinary men and animals, who became his downfall after his abduction of Rama's wife, Sita.", "Dedication" : "Gift of Helen H. Reiff in memory of Robert F. Reiff", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "Indian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/83.55_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/83.55_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/83.55_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/83.55_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "55110", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] }, ] }