{ "objects" : [ { "embark_ID" : 202, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/202", "Disp_Access_No" : "1978.15", "_AccNumSort1" : "", "Disp_Create_DT" : "1865", "_Disp_Start_Dat" : "1865", "_Disp_End_Date" : "1865", "Disp_Title" : "The Night Before the Battle", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "James Henry Beard", "Sort_Artist" : "Beard, James Henry", "Disp_Dimen" : "30 1/2 x 44 1/2 in. (77.5 x 113 cm)", "Disp_Height" : "30 1/2 in.", "Disp_Width" : "44 1/2 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "James Beard had first-hand experience as a captain in the Union army during the Civil War. This painting, completed in the year the war ended, is a dramatic statement about the ever-present possibility of death on the battlefield. [Gallery label text, 2007] Were it not for details like the skeleton keeping vigil behind the cannon, the cruciform composition of the flag draped over the sleeping soldier, and the scattered playing cards suggestive of luck and chance, this painting would be a simple narrative about the Civil War. However, such potent symbolism imbues the work with layers of spiritual significance. Perhaps the reminders of death and sacrifice that the artist included in his masterful painting emerged from his firsthand experience in the Union Army during the Civil War. The meticulously selected and carefully arranged details attest to the poignancy of the soldiers' situation and contrast with the implied violence that will occur on the morrow. [Gallery label text]", "Dedication" : "Gift of Dr. Ronald M. Lawrence", "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/78.15_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/78.15_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/78.15_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/78.15_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "17539", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "New access image derived by Lu Harper from Master scan", "View" : "" } , ] },{ "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. [Gallery label text, 2006]", "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/51.1_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.1_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.1_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/51.1_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12375", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Transparency rescanned at much larger size for publication as _P2 image", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/51.1_A7.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.1_A7.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.1_A7.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/51.1_A7.jpg", "IsPrimary" : "0", "_SurrogateID" : "29919", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Temporary image- do not use for print or web", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/51.1_A8.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.1_A8.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.1_A8.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/51.1_A8.jpg", "IsPrimary" : "0", "_SurrogateID" : "29920", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Temporary image- do not use for print or web", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/51.1_A10.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.1_A10.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.1_A10.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/51.1_A10.jpg", "IsPrimary" : "0", "_SurrogateID" : "29921", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Temporary image- do not use for print or web", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/51.1_A6.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.1_A6.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.1_A6.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/51.1_A6.jpg", "IsPrimary" : "0", "_SurrogateID" : "29945", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Temporary image- do not use for print or web", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/51.1_A9.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.1_A9.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.1_A9.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/51.1_A9.jpg", "IsPrimary" : "0", "_SurrogateID" : "29946", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Temporary image- do not use for print or web", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/51.1_R1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.1_R1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.1_R1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/51.1_R1.tif", "IsPrimary" : "0", "_SurrogateID" : "37729", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/51.1_R2.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.1_R2.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.1_R2.tif", "IIIF_URL": "http://iiif.gallerysystems.com/51.1_R2.tif", "IsPrimary" : "0", "_SurrogateID" : "37730", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/51.1_R3.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.1_R3.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.1_R3.tif", "IIIF_URL": "http://iiif.gallerysystems.com/51.1_R3.tif", "IsPrimary" : "0", "_SurrogateID" : "37731", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/51.1_R4.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.1_R4.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.1_R4.tif", "IIIF_URL": "http://iiif.gallerysystems.com/51.1_R4.tif", "IsPrimary" : "0", "_SurrogateID" : "37732", "Image_Type" : "digital image", "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" : 292, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/292", "Disp_Access_No" : "1944.2", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1765", "_Disp_Start_Dat" : "1760", "_Disp_End_Date" : "1770", "Disp_Title" : "Unfinished Portrait of Nathaniel Hurd (1729-1777)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "John Singleton Copley", "Sort_Artist" : "Copley, John Singleton", "Disp_Dimen" : "29 3/8 x 24 5/8 in. (74.6 x 62.5 cm)", "Disp_Height" : "29 3/8 in.", "Disp_Width" : "24 5/8 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Nathaniel Hurd (1730-1778), silversmith, goldsmith, and engraver, was a member of a distinguished Boston family of silversmiths. In addition to creating a number of silver pieces, he was well-known for his bookplates, which were designed for many distinguished colonial families including Loyalists and a signer of the Declaration of Independence, and were based on heraldic motifs (to which they may or may not have been entitled). Hurd also designed a plate for his own family, as well as bookplates for both Harvard and Dartmouth Colleges. The bookplates provide an unusual link to the social and intellectual climate of the times, and literally speak volumes about sociocultural aspirations of eighteenth-century America. Hurd was a contemporary of Copley’s. This ca. 1765 portrait, Copley’s first to depict a fellow artisan in working costume, had been preceded by an earlier miniature that Copley had painted of Hurd in 1755. [Gallery label text, 1996] ", "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/44.2_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/44.2_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/44.2_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/44.2_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12367", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Print Master derived from Digital Master for Seeing America Pachyderm project August 2008.", "View" : "" } , ] },{ "embark_ID" : 568, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/568", "Disp_Access_No" : "1983.13", "_AccNumSort1" : "", "Disp_Create_DT" : "1909", "_Disp_Start_Dat" : "1909", "_Disp_End_Date" : "1909", "Disp_Title" : "Woman in an Ermine Collar", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Kathleen McEnery Cunningham", "Sort_Artist" : "Cunningham, Kathleen McEnery", "Disp_Dimen" : "76 7/8 x 38 3/8 in. (195.3 x 97.5 cm)", "Disp_Height" : "76 7/8 in.", "Disp_Width" : "38 3/8 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Kathleen McEnery’s early training as an Urban Realist drew her to depict reality with an uncompromising eye. The artist was about twenty-two years old and living in Paris when she painted this bold and modern woman. McEnery lived in New York, Madrid, and Paris before she moved to Rochester, NY in 1914. [Gallery label text, 2007] Kathleen McEnery was about twenty-two years old and living in Paris when she painted Woman in an Ermine Collar. She lived and trained in New York, Madrid, and Paris before moving to Rochester in 1914. McEnery played a major role in Rochester’s cultural circles, and painted throughout her life while raising a family with her husband, Francis Cunningham of the Cunningham Car Company. McEnery’s training with the American realist master Robert Henri drew her to depict with honesty the conditions of modern life. The result is this woman’s unapologetic presence. She is an embodiment of the New Woman – a cultural phenomenon of the growing women’s rights movement, of which the artist was an ardent supporter. The New Woman rebelled against traditional gender roles and was independent, confident, and physically active. As this woman’s dashing manner illustrates, she was equally as comfortable in the public domain as would be any man. [Gallery label text, 2006] In New York City, Kathleen McEnery studied with Robert Henri. She also studied abroad and exhibited two paintings at the controversial 1913 Armory Show in New York City. After her marriage to Rochesterian Francis Cunningham, whose family owned the Cunningham Carriage Factory, she continued painting in a studio off the family's home on 10 South Goodman St., now on the campus of the Rochester Museum and Science Center. As Mrs. Cunningham, she was a member of the Gallery's Board of Managers from 1927 through 1971. The model's direct and intelligent expression and forthright pose suggests the "new woman," ready to be a participant in contemporary society rather than remain at home. Certainly, McEnery herself, who had graduated from Pratt Institute and lived on her own in New York City, fit that description as well. [Gallery label text, 2003]", "Dedication" : "Gift of Joan Cunningham Williams, Peter Cunningham, and Michael McEnery Cunningham", "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/83.13_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/83.13_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/83.13_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/83.13_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12491", "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" : 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" : 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" : 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" : 418, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/418", "Disp_Access_No" : "1951.5", "_AccNumSort1" : "", "Disp_Create_DT" : "1942", "_Disp_Start_Dat" : "1942", "_Disp_End_Date" : "1942", "Disp_Title" : "The Opposition", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "William Gropper", "Sort_Artist" : "Gropper, William", "Disp_Dimen" : "28 x 38 in. (71.1 x 96.5 cm)", "Disp_Height" : "28 in.", "Disp_Width" : "38 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Lawmakers were threatening to cut significant federal funding for the arts when political cartoonist and painter William Gropper satirized the United States Senate in The Opposition. Gropper wrote, “I have portrayed the type of representative that is opposed to progress and culture. The U.S. Senate…[has] such an influence on American life, good and bad, that it has even affected the artist and the cultural development of our country.” [Gallery label text, 2007] William Gropper was best known for his caustic commentary on the American political and social scene. He depicted realistic and identifiable subjects; The Opposition was one of a number of paintings and illustrations that came out of his 1934 assignment for the magazine Vanity Fair, to sketch legislators in action in Washington. Gropper made no bones about his distaste for politics and used his art to further his point of view: "I have portrayed the type of representative that is opposed to progress and culture. The U.S. Senate and the House of Representatives have had such an influence on American life, good and bad, that it has even affected the artist and the cultural development of our country. No matter how far removed from politics artists may be, it seems to strike home. Only recently one blasting speech of a reactionary representative resulted in not only doing away with the Section of Fine Art, but also dismissing the Graphic Division of the OWI [Office of War Information] and nullifying art reportage for the War Department." Gropper's start as a newspaper illustrator informed the creative processes of the rest of his life. His work retained his journalist's interest in issues of the day, giving it a particularly topical essence presented in a dynamic, expressionistic format. [Gallery label text, 2006]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Children" : [ { "Rel_Obj_ID" : "1714", "Rel_Obj_Title" : "The Opposition" } ], "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/51.5_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.5_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.5_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/51.5_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12387", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 419, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/419", "Disp_Access_No" : "1951.6", "_AccNumSort1" : "", "Disp_Create_DT" : "1943", "_Disp_Start_Dat" : "1943", "_Disp_End_Date" : "1943", "Disp_Title" : "The Wanderer", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "George Grosz", "Sort_Artist" : "Grosz, George", "Disp_Dimen" : "30 x 40 in. (76.2 x 101.6 cm)", "Disp_Height" : "30 in.", "Disp_Width" : "40 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Ten years after fleeing Germany during Hitler’s rise to power, George Grosz painted The Wanderer in New York. As World War II raged over the ocean, Grosz created this intensely personal response to his experience as a German soldier in World War I and his 1933 emigration to the United States. [Gallery label text, 2007] Painted in the midst of World War II, The Wanderer is an expression of the artist’s recent life experience. George Grosz was an established painter in Germany who, like many others, spoke out against the totalitarian Nazi regime. For his own safety and that of his family, he relocated to the United States. The Wanderer was one of a group of so-called ‘hell pictures’; in a letter, he wrote: I work a lot…I painted a little picture – The Wanderer – myself of course…The resonance of explosion and destruction often shakes me bodily. The explosion and destruction was a reference to the war-torn European continent that he had left behind, as well as a reference to his own emotional volatility as he tried to adjust, with little success, to his new life in America, suggested in the painting by the seagrasses he knew from Long Island and Cape Cod beaches. The Wanderer was probably one of the newest paintings acquired for the Encyclopedia Britannica Collection, as the collection was formed in 1943, the same year that Grosz painted this work. Stylistically, the painting’s expression of personal and cultural angst – achieved through desolate subject matter, somber palette, and unquiet line – was very much an alternative view to the more upbeat images of wartime artists like Norman Rockwell. [Gallery label text, 2006]", "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/51.6_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.6_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.6_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/51.6_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12388", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "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" : 522, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/522", "Disp_Access_No" : "1991.5", "_AccNumSort1" : "", "Disp_Create_DT" : "1948", "_Disp_Start_Dat" : "1948", "_Disp_End_Date" : "1948", "Disp_Title" : "Summer Street Scene in Harlem", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Jacob Lawrence", "Sort_Artist" : "Lawrence, Jacob", "Disp_Dimen" : "20 1/16 x 24 1/8 in. (51 x 61.2 cm)", "Disp_Height" : "20 1/16 in.", "Disp_Width" : "24 1/8 in.", "Dimen_Extent" : "without frame", "Medium" : "Tempera", "Support" : "panel", "Disp_Medium" : "Tempera on gesso panel", "Info_Page_Comm" : "Jacob Lawrence chronicled the migration of African Americans from the South to the North in the first half of the 20th century. In Summer Street Scene in Harlem, Lawrence’s style incorporates the flattened surfaces, distorted shapes, and bold colors of modernism to capture the energy and vitality of life in Harlem, New York. [Gallery label text, 2007]", "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/91.5_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/91.5_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/91.5_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/91.5_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12514", "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" : "" } , ] },{ "embark_ID" : 710, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/710", "Disp_Access_No" : "1975.139", "_AccNumSort1" : "", "Disp_Create_DT" : "1866", "_Disp_Start_Dat" : "1866", "_Disp_End_Date" : "1866", "Disp_Title" : "Home Late", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Mortimer Smith", "Sort_Artist" : "Smith, Mortimer", "Disp_Dimen" : "40 x 46 in. (101.6 x 116.8 cm)", "Disp_Height" : "40 in.", "Disp_Width" : "46 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Home Late is the earliest identified painting by Mortimer Smith. The shadowy interior of the frontier cabin demonstrates his mastery of the genre scene: the rifle hanging from the ceiling side by side with drying meats and vegetables, supper cooking in the kettle suspended in the stone fireplace, and the dog sleeping peacefully by the fire. Smith is equally adept at capturing the warm glow cast by the fire as it contrasts with the cold light of the winter scene beyond the doorway. The child pausing in the doorway heightens the emotional ambiguity of the scene as he surveys the cabin's interior, perhaps to gauge the mood within as he returns home late from skating. Smith's landscape and genre scenes suggest familiarity with his better-known contemporaries, like Albert Bierstadt and Eastman Johnson. Certainly, early exposure to the work exhibited at the Cosmopolitan Art Association in Sandusky provided Smith with models of painting styles that continued to influence him throughout his life. [Gallery label text]", "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/75.139_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.139_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.139_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.139_A2.jpg", "IsPrimary" : "0", "_SurrogateID" : "31885", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "cropped from CMYK file used in Seeing America Catalogue for web use", "View" : "" } , ] },{ "embark_ID" : 13974, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13974", "Disp_Access_No" : "2006.37", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1800", "_Disp_Start_Dat" : "1795", "_Disp_End_Date" : "1805", "Disp_Title" : "Tall Case Clock", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Simon Willard", "Sort_Artist" : "Willard, Simon", "Disp_Dimen" : "93 1/2 x 21 x 10 3/8 in. (237.5 x 53.3 x 26.4 cm)", "Disp_Height" : "93 1/2 in.", "Disp_Width" : "21 in.", "Dimen_Extent" : "", "Medium" : "Mahogany", "Support" : "", "Disp_Medium" : "Mahogany, glass, brass and painted face", "Info_Page_Comm" : "This classic ‘grandfather clock’ was handed down through many generations of the Cooper family of Massachusetts and Maine. In 1974, it was purchased by Mr. and Mrs. Craig, who bequeathed it to the Memorial Art Gallery after Mrs. Craig’s death in 2006. [Gallery label text, 2007]", "Dedication" : "Bequest of Jean Craig", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Furniture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2006.37_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2006.37_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2006.37_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2006.37_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "39722", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] }, ] }