{ "objects" : [ { "embark_ID" : 4958, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4958", "Disp_Access_No" : "1969.45", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1878-1882", "_Disp_Start_Dat" : "1878", "_Disp_End_Date" : "1882", "Disp_Title" : "The Bay of Estaque Seen from the East (La Baie de l'Estaque vue de l'est)", "Alt_Title" : "View of Mt. Marseilleveyre and the Isle of Maire (L'Estaque); La Montagne Marseilleveyre et l'Ile Maire; Le Golfe bleu (L'Estaque); Sea at L'Estaque", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Paul Cézanne", "Sort_Artist" : "Cézanne, Paul", "Disp_Dimen" : "21 1/4 x 25 5/8 in. (54 x 65.1 cm)", "Disp_Height" : "21 1/4 in.", "Disp_Width" : "25 5/8 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Paul Cézanne exhibited in the Impressionist exhibition of 1874, and was encouraged by Camille Pissarro to begin painting out of doors. He soon moved beyond the style of Impressionism and began building form with color to paintings that were more analytical than sensory. He frequently painted scenes of the small town of L’Estaque in southern France, where he lived and worked periodically from 1870 to 1885. In an 1876 letter to his friend the Impressionist painter Camille Pissarro, he wrote of his work in L’Estaque: "I have started two little motifs with a view of the sea…red roofs over the blue sea…The sun is so terrific here that it seems to me as if the objects are silhouetted not only in black and white, but in blue, red, brown and violet. I may be mistaken, but this seems to me to be the opposite of modeling." In this painting, he uses interlocking shapes of bright color and diagonal brushstrokes to create the sensation of volumes in the foliage, mountains, and water. [Label copy from Monet: Vision and Process exhibition, 2018] Cézanne's artistic goals developed through his contact with the Impressionists. Although he was not interested in rendering particular momentary impressions, he wished to record his "sensations" of nature. This painting typifies his technique-- suggesting form and volume through interlocking shapes that are rendered with bold, diagonal brushstrokes. The bright colors deftly evoke the strong light and crystalline atmosphere of southern France. [Gallery label text, 1999] ", "Dedication" : "Anonymous gift in tribute to Edward Harris and in memory of H. R. Stirlin of Switzerland", "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/69.45_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/69.45_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/69.45_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/69.45_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "40676", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Rescanned from TR1 transparency to make larger file, at request of borrower", "View" : "" } , ] },{ "embark_ID" : 4969, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4969", "Disp_Access_No" : "1939.22", "_AccNumSort1" : "", "Disp_Create_DT" : "1882", "_Disp_Start_Dat" : "1882", "_Disp_End_Date" : "1882", "Disp_Title" : "The Rocks at Pourville, Low Tide", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Claude Monet", "Sort_Artist" : "Monet, Claude", "Disp_Dimen" : "25 5/16 x 31 in. (64.3 x 78.7 cm)", "Disp_Height" : "25 5/16 in.", "Disp_Width" : "31 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "This painting belongs to a series of works produced during the spring and summer of 1882, while Monet visited Pourville, a town on the Normandy coast. As he explored the beach and the rocks exposed at low tide, Monet found a startling diversity of viewpoints that enabled him to create some of his most dramatic and unexpected compositions. In all of them, Monet placed himself far out across the beach, a little to the east of Pourville. He juxtaposed the cliffs in the far distance with the fragmented forms of the rock shelves in the foreground, using unique brushstrokes to convey the movement and light of the water and clouds. Monet’s technique gradually changed from completing paintings out of doors to one of making hundreds of concentrated studies on location. He then compiled and reworked these many sketches in his studio, where he created the final canvases. [Label copy from Monet: Vision and Process exhibition, 2018]", "Dedication" : "Gift of Emily 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/39.22_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/39.22_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/39.22_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/39.22_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "44019", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Recorrected from M1 image as there was no print master version. A new JPG was derived from the new print master.", "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" : 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" : 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" : 6578, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6578", "Disp_Access_No" : "1951.27", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1907-1919", "_Disp_Start_Dat" : "1907", "_Disp_End_Date" : "1919", "Disp_Title" : "Near Cagnes", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Pierre Auguste Renoir", "Sort_Artist" : "Renoir, Pierre Auguste", "Disp_Dimen" : "18 3/8 x 22 in. (46.7 x 55.9 cm)", "Disp_Height" : "18 3/8 in.", "Disp_Width" : "22 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Renoir’s health began failing in the early 1900s, and he spent most of his remaining years in the south of France. In 1907, he bought property near Nice, France, where he lived until his death. Despite his physical limitations due to severe rheumatism, he continued to paint still lifes, portraits, and landscapes of the area. Like Monet, he used a fairly limited color palette, usually five to seven pigments, to create his complex, yet subtle, color relationships. [Label copy from Monet: Vision and Process exhibition, 2018]", "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/51.27_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.27_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.27_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/51.27_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "15967", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "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" : 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" : "" } , ] }, ] }