{ "objects" : [ { "embark_ID" : 6655, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6655", "Disp_Access_No" : "1987.65", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1878-1881", "_Disp_Start_Dat" : "1878", "_Disp_End_Date" : "1881", "Disp_Title" : "Dancer, Seen from Behind (Danseuse vue de dos)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Edgar Degas", "Sort_Artist" : "Degas, Edgar", "Disp_Dimen" : "19 3/16 x 11 11/16 in. (48.7 x 29.7 cm)", "Disp_Height" : "19 3/16 in.", "Disp_Width" : "11 11/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Chalk", "Support" : "paper", "Disp_Medium" : "Black chalk and pastel on faded blue laid paper, laid down to two more sheets", "Info_Page_Comm" : "Often called “the painter of modern life,” Edgar Degas filled his canvases with images from the vibrant world of performance and spectacle in the clubs and theaters of Paris during the latter part of the 1800s. Ballet dancers appealed to Degas as a pictorial subject for two key reasons: they represented modern subjects, and they offered female bodies that could be naturally observed in a host of complicated poses. Drawing from innumerable studies, he created light-filled images that represent the essence of natural movement. Dancer, Seen from Behind is a study for a figure in the far right of Dancers in the Rehearsal Room, with a Double Bass, which is now in the Metropolitan Museum of Art. [Label copy from Monet: Vision and Process exhibition, 2018]", "Dedication" : "Gift of Dr. and Mrs. James H. Lockhart, Jr.", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Drawing", "Creation_Place2" : "French", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/87.65_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/87.65_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/87.65_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/87.65_A1.jpg", "IsPrimary" : "0", "_SurrogateID" : "26219", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4959, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4959", "Disp_Access_No" : "1931.21", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1900", "_Disp_Start_Dat" : "1895", "_Disp_End_Date" : "1905", "Disp_Title" : "Dancers", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Edgar Degas", "Sort_Artist" : "Degas, Edgar", "Disp_Dimen" : "37 5/8 x 26 3/4 in. (95.6 x 67.9 cm)", "Disp_Height" : "37 5/8 in.", "Disp_Width" : "26 3/4 in.", "Dimen_Extent" : "", "Medium" : "Pastel", "Support" : "paper", "Disp_Medium" : "Pastel and charcoal on tracing paper, mounted on wove paper, mounted on board", "Info_Page_Comm" : "When asked by Mrs. Horace Havemeyer, an American collector, why he so often portrayed dancers, Degas replied “Because I find there, Madame, the combined movements of the Greeks.” This pastel was produced late in the artist’s life when his eyesight had begun to fail. It is possible that his diminished vision resulted in the heavy contours that surround the dancers and give only the barest suggestion of their facial features. Rather than attempting great detail, he concentrated on mapping out the unpredictable effects of theatrical lighting on the forms of the figures. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of Mrs. Charles H. Babcock", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Drawing", "Creation_Place2" : "French", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Lemoisne catalogue raisonne describes this work as a study for or replica of cats. no. 1428 (now Fondation Beyeler, Riehen/Basel) and 1429, "Three Dancers." No information could be found in curatorial or archival records indicating where or from whom MAG bought this work; Mrs. Babcock gave the funds. Seven flattened spots of red wax on verso of panel appear to have been used like glue to adhere a sheet of paper (now missing) to the entire surface. Per Pat Hamm, this appears not to have been fixed with fixative. Work made up of two sheets, attached vertically.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/31.21_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/31.21_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/31.21_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/31.21_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "38865", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Photographed in situ as installed; frame cropped out in Photoshop.", "View" : "" } , ] },{ "embark_ID" : 6661, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6661", "Disp_Access_No" : "1986.116", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1881", "_Disp_Start_Dat" : "1876", "_Disp_End_Date" : "1886", "Disp_Title" : "The Protector in the Wings (Le protecteur dans les coulisses)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Jean Louis Forain", "Sort_Artist" : "Forain, Jean Louis", "Disp_Dimen" : "12 3/4 x 9 9/16 in. (32.4 x 24.3 cm)", "Disp_Height" : "12 3/4 in.", "Disp_Width" : "9 9/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Pen and ink", "Support" : "paper", "Disp_Medium" : "Dark-gray ink, watercolor, and gouache on wove paper, laid down on board", "Info_Page_Comm" : "Forain, a follower and protégé of Edgar Degas, participated in the Impressionist exhibitions of 1879, 1880, 1881, and 1886. He was influenced by Impressionist theories on light and color. His watercolors, pastels, and paintings focused on Parisian popular entertainment and themes of modernity, including scenes of the ballet, the opera, and the racetrack. The ballerinas of 19th-century France often came from the lower classes of society and were viewed as little more than cabaret performers. Ballet dancers frequently had a wealthy male patron who also served as her protector, escort and lover. Along with his interest in theater and ballet, Forain’s work is characterized by his satirical commentary on modern life and, in his later years, interest in social injustice. In this drawing, the attentive stance and focused gaze of the backstage “protector” suggests the proprietary nature of his relationship with an unseen ballerina as she performs on stage. [Label copy from Monet: Vision and Process exhibition, 2018]", "Dedication" : "Gift of Dr. and Mrs. James H. Lockhart, Jr.", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Drawing", "Creation_Place2" : "French", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/86.116_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/86.116_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/86.116_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/86.116_A3.jpg", "IsPrimary" : "1", "_SurrogateID" : "29173", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Scanned by Andy Olenick April 2009 from an undated transparency shot by James Via. Master exists only in TIF form, not DNG. On disk 090407", "View" : "" } , ] },{ "embark_ID" : 3059, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3059", "Disp_Access_No" : "1959.16", "_AccNumSort1" : "", "Disp_Create_DT" : "1913", "_Disp_Start_Dat" : "1913", "_Disp_End_Date" : "1913", "Disp_Title" : "Young Mother, Daughter, and Baby (Jeune mère, fillette et bébé)", "Alt_Title" : "Mother and Son on a Chaise Longue, Daughter Leaning Over Them", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Mary Cassatt", "Sort_Artist" : "Cassatt, Mary", "Disp_Dimen" : "43 1/4 x 33 1/4 in. (109.9 x 84.5 cm)", "Disp_Height" : "43 1/4 in.", "Disp_Width" : "33 1/4 in.", "Dimen_Extent" : "without frame", "Medium" : "Pastel", "Support" : "paper", "Disp_Medium" : "Pastel on paper", "Info_Page_Comm" : "Mary Cassatt was an American artist who lived in France for much of her life, after having moved there at the age of 21 in order to study painting. Artist Edgar Degas admired Cassatt’s art and encouraged her to join the circle of painters that included Pierre Renoir and Claude Monet, the group that became known as the Impressionists. She first exhibited with them in 1879, when she was 35, and continued to be associated with them for the rest of her life. Cassatt was the only American woman in the group. While Cassatt’s subjects were typically women and children, she herself lived an atypical life for a woman in that period. Cassatt was a strong supporter of women’s suffrage; this painting and others were exhibited in a 1915 exhibition at Knoedler’s that was organized by Cassatt’s good friend and staunch supporter, suffragist and art connoisseur Louisine Havemeyer. [Gallery label text, 2009]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Drawing", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/59.16_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/59.16_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/59.16_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/59.16_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "25399", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] }, ] }