{ "objects" : [ { "embark_ID" : 211, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/211", "Disp_Access_No" : "1951.1", "_AccNumSort1" : "", "Disp_Create_DT" : "1928", "_Disp_Start_Dat" : "1928", "_Disp_End_Date" : "1928", "Disp_Title" : "Boomtown", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Thomas Hart Benton", "Sort_Artist" : "Benton, Thomas Hart", "Disp_Dimen" : "46 1/8 x 54 1/4 in. (117.2 x 137.8 cm)", "Disp_Height" : "46 1/8 in.", "Disp_Width" : "54 1/4 in.", "Dimen_Extent" : "without frame", "Medium" : "Egg yolk and oil", "Support" : "canvas", "Disp_Medium" : "Egg yolk and oil on canvas", "Info_Page_Comm" : "Early in his career, Thomas Hart Benton was involved in the American abstract movement, Synchromism. In the 1920s, Benton embarked on a style that incorporated Synchromist rhythmic line and expressive color with representational imagery of rural America. With this major shift in style, Benton established the Regionalist movement. Many consider Boomtown to be the artist’s first Regionalist masterpiece. [Gallery label text, 2007] Boomtown is one of the masterpieces of the Gallery's collection because of its impressive and unique depiction of an American landscape. When Thomas Hart Benton sketched this panoramic scene from a second floor window, the smoky fire on the horizon signified progress, not pollution. Borger, Texas was a boomtown that sprang to life in 1926 after a refinery company hit a gusher that produced 5000 gallons of oil a day. Benton is one of the three major American Regionalists (the other two are Grant Wood and John Steuart Curry), so called because most of their subjects were about life in the rural heartland of America. While Benton was not a fan of contemporary modernist painting, and in fact disdained artists who painted in the abstract style, he couldn't help but be influenced by the curvy and streamlined aesthetic of his times and the way in which artists were reinterpreting three-dimensional space. Consider the way in which the people, buildings and landscape are layered from top to bottom on the canvas, rather than being laid out carefully from front to back in the manner of traditional artistic renderings. 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"Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/51.1_R5.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.1_R5.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.1_R5.tif", "IIIF_URL": "http://iiif.gallerysystems.com/51.1_R5.tif", "IsPrimary" : "0", "_SurrogateID" : "37733", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4211, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4211", "Disp_Access_No" : "2005.31", "_AccNumSort1" : "", "Disp_Create_DT" : "1927", "_Disp_Start_Dat" : "1927", "_Disp_End_Date" : "1927", "Disp_Title" : "Negro Head", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "John Steuart Curry", "Sort_Artist" : "Curry, John Steuart", "Disp_Dimen" : "24 x 18 1/2 in. (61 x 47 cm)", "Disp_Height" : "24 in.", "Disp_Width" : "18 1/2 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "According to the [previous owner], Curry met the subject of this painting, a sugar cane worker, on a trip to Cuba. [Gallery label text]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2005.31_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.31_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2005.31_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2005.31_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "33982", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "See other views on disk: MAG 100622", "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" : 507, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/507", "Disp_Access_No" : "1965.12", "_AccNumSort1" : "", "Disp_Create_DT" : "1963", "_Disp_Start_Dat" : "1963", "_Disp_End_Date" : "1963", "Disp_Title" : "Interlude", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "John Koch", "Sort_Artist" : "Koch, John", "Disp_Dimen" : "50 1/8 x 39 7/8 in. (127.3 x 101.3 cm)", "Disp_Height" : "50 1/8 in.", "Disp_Width" : "39 7/8 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "John Koch was a master of the tradition of American realism. His warm, intimate, and elegant New York City interiors glow with light that is reflected by well-polished furniture, floors, and silver. In this painting, the artist’s wife (piano teacher Dora Zaslavsky) offers a cup of tea to the nude artist’s model, while the artist sits in the background and contemplates his canvas. A variation on the theme of artists and models, Interlude also is an expression of the generosity of human relationships. As one of Zaslavsky’s former students wrote, “…her philosophy of care and concern for the individual student helps shape my teaching to this day.” [Summer 2015]", "Dedication" : "Gift of Mr. and Mrs. Thomas H. Hawks", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Children" : [ { "Rel_Obj_ID" : "3173", "Rel_Obj_Title" : "Study for "Interlude" (I)" },{ "Rel_Obj_ID" : "3174", "Rel_Obj_Title" : "Study for "Interlude" (II)" } ], "Curator" : "Per MSearl, telephone number of family that lives in John Koch''s apartment is 212 873 2875. Family of UR student Joyce Cohen lives there (don''t know when this info is from - sometime before 2012). 11.14.12.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/65.12_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/65.12_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/65.12_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/65.12_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12425", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Print Master derived from Digital Master for Seeing America Pachyderm project August 2008.", "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" : 5058, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5058", "Disp_Access_No" : "1972.75", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1630-1640", "_Disp_Start_Dat" : "1630", "_Disp_End_Date" : "1640", "Disp_Title" : "The Fox and the Heron", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Frans Snyders and workshop", "Sort_Artist" : "Snyders, Frans", "Disp_Dimen" : "47 1/8 x 61 1/4 in. (119.7 x 155.6 cm)", "Disp_Height" : "47 1/8 in.", "Disp_Width" : "61 1/4 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Monumental and decorative animal painting developed in Antwerp in the 17th century in the immediate circle of Rubens. Snyders, whose workshop was famous for this type of work, often also collaborated on the animals, flowers, and fruit in his friend Rubens's paintings. The rendering of materials such as the fur of the fox, the plumage of the bird, and the transparency of the glass jar add to the interest in texture. "The Fox and the Heron" is a story from Aesop's Fables. In the background, the fox invites the heron for dinner and offers only a bowl of soup, impossible for the heron to eat. In the foreground, the heron in turn invites the fox. Dinner is served in a long-necked glass jar and the fox can only lick the outside. Moral: One bad turn deserves another! [Gallery label text, August 1996]", "Dedication" : "Gift of Dr. and Mrs. James V. Aquavella", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "Flemish", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/72.75_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/72.75_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/72.75_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/72.75_A3.jpg", "IsPrimary" : "1", "_SurrogateID" : "29171", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Scanned by Andy Olenick April 2009 from a 1995 transparency shot by James Via. Master exists only in TIF form, not DNG. On disk 090407", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/72.75_R1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/72.75_R1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/72.75_R1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/72.75_R1.jpg", "IsPrimary" : "0", "_SurrogateID" : "30877", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Related image from National Museum, Stockholm", "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" : "" } , ] }, ] }