{ "objects" : [ { "embark_ID" : 6921, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6921", "Disp_Access_No" : "1928.75", "_AccNumSort1" : "", "Disp_Create_DT" : "before 79 CE", "_Disp_Start_Dat" : "69", "_Disp_End_Date" : "78", "Disp_Title" : "Fresco Fragment with Cupid Holding a Mask ", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Roman", "Sort_Artist" : "Unknown, Roman", "Disp_Dimen" : "8 1/16 x 5 3/16 x 3/4 in. (20.4 x 13.1 x 1.9 cm)", "Disp_Height" : "8 1/16 in.", "Disp_Width" : "5 3/16 in.", "Dimen_Extent" : "overall", "Medium" : "Paint", "Support" : "plaster", "Disp_Medium" : "Paint on plaster", "Info_Page_Comm" : "", "Dedication" : "The C. Herbert Ocumpaugh Collection", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "Roman", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "At time of 1977 University of Michigan exhibition, MAG provided the venue with a date for this piece of 63-79 AD, but it is unclear where such precise dating came from. Nothing in the file previously specifies a date other than "first century." --KSchauber, Curatorial Research Ass''t Per registrar''s ledger: from a decorated wall in Pompeii", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/28.75_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/28.75_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/28.75_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/28.75_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12670", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 192, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/192", "Disp_Access_No" : "1934.1", "_AccNumSort1" : "", "Disp_Create_DT" : "before 1831", "_Disp_Start_Dat" : "1821", "_Disp_End_Date" : "1830", "Disp_Title" : "Colonel Nathaniel Rochester", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, American", "Sort_Artist" : "Unknown, American", "Disp_Dimen" : "30 x 25 in. (76.2 x 63.5 cm)", "Disp_Height" : "30 in.", "Disp_Width" : "25 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "This formal gentleman was the founder of the city of Rochester, New York. His portrait was originally thought to have been painted by John James Audubon, but current scholarship has weighed in against that opinion. Nathaniel Rochester was an enterprising individual, which was a characteristic of many early settlers. He founded businesses and churches, and held governmental positions. He was the first president of the Rochester Athenaeum, the precursor to the Rochester Institute of Technology, and he was instrumental in the organization of Monroe County and the building of the Erie Canal. His practical and inventive bent may have led him to wear four-lens spectacles, which allowed him to read small print and see at a distance using the same pair of glasses. [Gallery label text, 2007]", "Dedication" : "Gift of Thomas J. Watson", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Conversation between Marjorie Searl and Holly Cumberland (Rochester family descendant) regarding acquisition and attribution of painting (December 7, 2009); Holly wanted to alert us to the book "Nathaniel" written by her grandfather, Rochester Rogers, whose son Nathaniel died of throat cancer in 1945. In the book, Rogers alludes to the painting of Nathaniel Rochester, and that it was acquired for MAG by Thomas Watson. Holly''s contention is that Thomas Watson bought the painting believing that it was by Audubon, and that as Rochester Rogers and Thomas Watson were friends, there would have been ample opportunity for Watson to have ascertained from his friend Rogers that it was in fact by Audubon. However, as I explained to Holly, it was Rochester Rogers'' sister Helen who strongly supported the Audubon attribution, so this comment does not change the fact that there is virtually no objective and external evidence pointing to this portrait''s being by Audubon, other than an anonymous inscription on the back of the painting.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/34.1_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/34.1_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/34.1_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/34.1_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12350", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4135, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4135", "Disp_Access_No" : "1949.63", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1645", "_Disp_Start_Dat" : "1640", "_Disp_End_Date" : "1650", "Disp_Title" : "Still Life", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Jan Davidsz. de Heem", "Sort_Artist" : "Heem, Jan Davidsz. de", "Disp_Dimen" : "14 1/2 x 18 in. (36.8 x 45.7 cm)", "Disp_Height" : "14 1/2 in.", "Disp_Width" : "18 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "panel", "Disp_Medium" : "Oil on panel", "Info_Page_Comm" : "", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "Dutch", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/49.63_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/49.63_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/49.63_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/49.63_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12373", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 6634, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6634", "Disp_Access_No" : "1949.64", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1508", "_Disp_Start_Dat" : "1503", "_Disp_End_Date" : "1513", "Disp_Title" : "Portrait of a Man", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Vincenzo di Biagio Catena", "Sort_Artist" : "Catena, Vincenzo di Biagio", "Disp_Dimen" : "12 3/4 x 10 1/4 in. (32.4 x 26 cm)", "Disp_Height" : "12 3/4 in.", "Disp_Width" : "10 1/4 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "panel", "Disp_Medium" : "Oil on panel", "Info_Page_Comm" : "Vicenzo Catena was active a generation after Hans Memling, the Northern Renaissance artist who inspired Kehinde Wiley’s contemporary portrait nearby. Despite a difference of 500 years in the creation of Catena’s and Wiley’s portraits, the similarities are striking. Both are three-quarter profiles of young men of their day, set in a distant landscape. The sitters are linked not by social status but by their stillness and intensity of gaze, and by their immediate relationship to the viewer. Catena’s patrons were primarily members of the aristocratic and wealthy classes of Venice, Italy, of which the sitter for "Portrait of a Young Man" was certainly a member. The portrait’s aesthetic appeal derives from the simple, crisp composition; high level of craftsmanship; strong characterization of the sitter; and fluid use of brilliant and contrasting oil glazes. [Hawks Gallery reinstallation, summer 2019]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "Italian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/49.64_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/49.64_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/49.64_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/49.64_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "18777", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Inhouse scan from after treatment photography from Williamstown. Transparency in object file with conservation record.", "View" : "" } , ] },{ "embark_ID" : 617, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/617", "Disp_Access_No" : "1951.11a", "_AccNumSort1" : "", "Disp_Create_DT" : "1931", "_Disp_Start_Dat" : "1931", "_Disp_End_Date" : "1931", "Disp_Title" : "Jawbone and Fungus", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Georgia O'Keeffe", "Sort_Artist" : "O'Keeffe, Georgia", "Disp_Dimen" : "17 x 20 in. (43.2 x 50.8 cm)", "Disp_Height" : "17 in.", "Disp_Width" : "20 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "With her unique vision and expression, Georgia O’Keeffe epitomizes the modern American artist. Her simple, pared down shapes and closely cropped still-lifes of bones and flowers turn objects into landscapes of their own. [Gallery label text, 2007] Painting on the verso, 51.11b.", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Sibling" : [ { "Rel_Obj_ID" : "11221", "Rel_Obj_Title" : "Untitled (Abstraction)" } ], "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/51.11a_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.11a_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.11a_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/51.11a_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12378", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Print Master derived from Digital Master for Seeing America Pachyderm project August 2008. Needs curatorial approval for other uses.", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/51.11b_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.11b_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.11b_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/51.11b_A1.jpg", "IsPrimary" : "0", "_SurrogateID" : "12379", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 5049, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5049", "Disp_Access_No" : "1953.8", "_AccNumSort1" : "", "Disp_Create_DT" : "1630-1635", "_Disp_Start_Dat" : "1630", "_Disp_End_Date" : "1635", "Disp_Title" : "Two Musicians", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Bernardo Strozzi", "Sort_Artist" : "Strozzi, Bernardo", "Disp_Dimen" : "45 5/8 x 47 7/8 in. (115.9 x 121.6 cm)", "Disp_Height" : "45 5/8 in.", "Disp_Width" : "47 7/8 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "This scene of a middle-aged lute player and young violinist illustrates many qualities of Baroque art. Both musicians look directly out from the painting, their eye contact and lively expressions establishing a sympathetic psychological relationship with their audience. A parapet that separates performer from spectator links imaginary and actual space; dramatic lighting, naturalistic details and richly saturated colors all merge to intensify the viewer’s visual experience. The meaning of Two Musicians leaves much to the imagination. The two figures here could suggest a contrast between naïve youth and experienced age; the violin and the lute both refer to ideas of balance and harmony. Concert scenes sometimes symbolize the sense of hearing or the idea of harmony and love. Whatever the interpretation, these paintings of concerts were, like the music they represent, extremely popular with their public during the Baroque period. As a young man, Strozzi entered a monastery where he painted religious subjects. After his father’s death, he was allowed to leave the monastery to support his mother; he refused, though, to return after she died and was forced to flee his native Genoa. In 1631, he settled in Venice, where he became a Roman Catholic prelate, or church official. He enjoyed continuous success as a painter for the rest of his life. [Gallery label text] ", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "Italian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Per catalogue raisonne, one of eighteen versions of this scene.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/53.8_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/53.8_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/53.8_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/53.8_A1.jpg", "IsPrimary" : "0", "_SurrogateID" : "15969", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "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" : 4234, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4234", "Disp_Access_No" : "1980.56", "_AccNumSort1" : "", "Disp_Create_DT" : "1764", "_Disp_Start_Dat" : "1764", "_Disp_End_Date" : "1764", "Disp_Title" : "John Monck (1735-1809)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Angelica Kauffmann", "Sort_Artist" : "Kauffmann, Angelica", "Disp_Dimen" : "39 x 29 in. (99.1 x 73.7 cm)", "Disp_Height" : "39 in.", "Disp_Width" : "29 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "John Monck was the Master of the Ceremonies in Bath, England, a position that charged him with organizing events, introducing guests and maintaining order in the spa town. Angelica Kauffmann painted this portrait in Italy rather than Monck’s native England, which suggests that he was on a gentleman’s “Grand Tour” of Europe. The Italian painter Pompeo Batoni painted Monck’s portrait in the same year, indicating that he must have spent enough time in Italy for two rounds of sittings. Although Kauffmann was only 23 years old when she painted Monck’s portrait, she was well into her career, as she had begun painting professionally as a teenager. [Gallery label text, 2008]", "Dedication" : "Women's Council Acquisition Fund, on the occasion of the Council's 40th Anniversary", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "Swiss", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/80.56_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/80.56_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/80.56_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/80.56_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "14756", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "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" : 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" : 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" : 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" : "" } , ] }, ] }