{ "objects" : [ { "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" : 199, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/199", "Disp_Access_No" : "1965.60", "_AccNumSort1" : "", "Disp_Create_DT" : "1870", "_Disp_Start_Dat" : "1870", "_Disp_End_Date" : "1870", "Disp_Title" : "Steamship James Fisk, Jr.", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "James Bard", "Sort_Artist" : "Bard, James", "Disp_Dimen" : "29 1/4 x 49 1/2 in. (74.3 x 125.7 cm)", "Disp_Height" : "29 1/4 in.", "Disp_Width" : "49 1/2 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "board", "Disp_Medium" : "Oil on board", "Info_Page_Comm" : "The large steamship in this painting, the James Fisk, Jr., was a ferryboat with a side paddlewheel, decorated with oversized flags and at least six gold eagles. It was named for its owner, a powerful financier who lived a colorful life that was ended by a scandalous shooting. Fisk also owned the Bristol, which can be seen in the distance. Known for his pristine depictions of ferries and steamboats, self-taught artist James Bard painted so accurately that it was said that shipbuilders could rebuild their boats based on his works. [Gallery label text, 2002]", "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/65.60_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/65.60_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/65.60_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/65.60_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12430", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 5155, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5155", "Disp_Access_No" : "1963.4", "_AccNumSort1" : "", "Disp_Create_DT" : "1830-1839", "_Disp_Start_Dat" : "1830", "_Disp_End_Date" : "1839", "Disp_Title" : "African Elephant Running", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Antoine Louis Barye", "Sort_Artist" : "Barye, Antoine Louis", "Disp_Dimen" : "10 x 13 1/2 in. (25.4 x 34.3 cm)", "Disp_Height" : "10 in.", "Disp_Width" : "13 1/2 in.", "Dimen_Extent" : "", "Medium" : "Bronze", "Support" : "", "Disp_Medium" : "Bronze", "Info_Page_Comm" : "", "Dedication" : "Marion Stratton Gould Fund", "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/63.4_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/63.4_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/63.4_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/63.4_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "14503", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4952, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4952", "Disp_Access_No" : "1968.51", "_AccNumSort1" : "", "Disp_Create_DT" : "19th Century", "_Disp_Start_Dat" : "1800", "_Disp_End_Date" : "1899", "Disp_Title" : "Allegory of Night", "Alt_Title" : "Diana", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "R. Battelli", "Sort_Artist" : "Battelli, R.", "Disp_Dimen" : "44 x 21 in. (111.8 x 53.3 cm)", "Disp_Height" : "44 in.", "Disp_Width" : "21 in.", "Dimen_Extent" : "", "Medium" : "Marble", "Support" : "", "Disp_Medium" : "Marble", "Info_Page_Comm" : "This allegorical sculpture depicts Night as a woman with a star on her brow and a crescent moon curving around her body. These attributes link the figure to the chaste goddess Diana, often depicted wearing a crown in the shape of a crescent moon. Symbolic figures satisfied artists’ desire to portray themes and ideas in tangible ways. Simultaneously, allegorical and mythological subjects lifted the female figure out of the realm of reality and into the sphere of the ideal, where audiences could enjoy the sight of the nude female body without social repercussions. [Gallery label text, 2011]", "Dedication" : "Gift of the Leora M. Dryer estate", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "Italian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Raffaello Battelli?", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/68.51_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/68.51_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/68.51_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/68.51_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "18716", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "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" : 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" : 222, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/222", "Disp_Access_No" : "1941.24", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1862-1863", "_Disp_Start_Dat" : "1862", "_Disp_End_Date" : "1863", "Disp_Title" : "Trial Scene ", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "David Gilmour Blythe", "Sort_Artist" : "Blythe, David Gilmour", "Disp_Dimen" : "22 1/4 x 27 in. (56.5 x 68.6 cm)", "Disp_Height" : "22 1/4 in.", "Disp_Width" : "27 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Blythe’s painting shows a scene of frontier justice in a rough building serving as a courtroom. A backwoods “lawyer” at the center either defends or makes his case against a shackled prisoner at the right. However, some elements of the scene, including the onlookers—some armed with long guns, some distracted by a card game—and the pot and sack at the lower left labelled “tar” and “feathers,” reveal that this is an extrajudicial proceeding. The prisoner whittles unconcernedly while his fate is decided, suggesting that this is a typically satirical genre scene for Blythe, who made other paintings of farcical trials and caricatured politics. [Gallery label text, 2019]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Originally purchased through R. T. Miller fund-- later shifted to Marion Stratton Gould fund. The reason could not be determined.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/41.24_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/41.24_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/41.24_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/41.24_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12354", "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 before any other use.", "View" : "" } , ] },{ "embark_ID" : 4954, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4954", "Disp_Access_No" : "1955.61", "_AccNumSort1" : "", "Disp_Create_DT" : "1869", "_Disp_Start_Dat" : "1869", "_Disp_End_Date" : "1869", "Disp_Title" : "Washerwomen of Fouesnant", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "William-Adolphe Bouguereau", "Sort_Artist" : "Bouguereau, William-Adolphe", "Disp_Dimen" : "30 x 23 5/8 in. (76.2 x 60 cm)", "Disp_Height" : "30 in.", "Disp_Width" : "23 5/8 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "In Fouesnant, a bay in Brittany, Bouguereau found the source material that would fuel his work for years to come. Academic artists viewed scenes of peasants performing their usual daily chores as a modern-day counterpart to the rustic figures of antiquity so beloved in historical paintings. Despite their circumstances, peasants in Academic paintings were usually depicted as clean, well-fed and neatly dressed. Here a girl carrying laundry resembles a caryatid, a classical figure used to support an architectural pediment. [Gallery label text, 2011]", "Dedication" : "Bertha Buswell Bequest", "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/55.61_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/55.61_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/55.61_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/55.61_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "29169", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Scanned by Andy Olenick April 2009 from a 1993 transparency shot by James Via. Master exists only in TIF form, not DNG. On disk 090407", "View" : "" } , ] },{ "embark_ID" : 5205, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5205", "Disp_Access_No" : "1957.16", "_AccNumSort1" : "", "Disp_Create_DT" : "1893 (cast 1930)", "_Disp_Start_Dat" : "1893", "_Disp_End_Date" : "1893", "Disp_Title" : "Young Warrior with Sword", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Antoine Bourdelle", "Sort_Artist" : "Bourdelle, Antoine", "Disp_Dimen" : " ", "Disp_Height" : "", "Disp_Width" : "", "Dimen_Extent" : "", "Medium" : "Bronze", "Support" : "", "Disp_Medium" : "Bronze", "Info_Page_Comm" : "", "Dedication" : "R. T. Miller Fund", "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/57.16_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/57.16_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/57.16_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/57.16_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "37407", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/57.16_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/57.16_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/57.16_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/57.16_A3.jpg", "IsPrimary" : "0", "_SurrogateID" : "37408", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 228, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/228", "Disp_Access_No" : "1984.47", "_AccNumSort1" : "", "Disp_Create_DT" : "1846", "_Disp_Start_Dat" : "1846", "_Disp_End_Date" : "1846", "Disp_Title" : "The Indian Hunter", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "DeWitt Clinton Boutelle", "Sort_Artist" : "Boutelle, DeWitt Clinton", "Disp_Dimen" : "32 5/8 x 47 1/8 in. (82.9 x 119.7 cm)", "Disp_Height" : "32 5/8 in.", "Disp_Width" : "47 1/8 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "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/84.47_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/84.47_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/84.47_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/84.47_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12494", "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. Color was adjusted closer to the scan in the Seeing America book...less yellow than Access image shown here.", "View" : "" } , ] },{ "embark_ID" : 5166, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5166", "Disp_Access_No" : "1964.19", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1857", "_Disp_Start_Dat" : "1852", "_Disp_End_Date" : "1862", "Disp_Title" : "Religious Procession", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Jules-Adolphe-Aimé Louis Breton", "Sort_Artist" : "Breton, Jules-Adolphe-Aimé Louis", "Disp_Dimen" : "15 x 18 in. (38.1 x 45.7 cm)", "Disp_Height" : "15 in.", "Disp_Width" : "18 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "A detail of the central figures from Breton's Blessing of the Wheat in Artois, 1857, at the Musee d'Orsay", "Dedication" : "Gift of Mrs. John Finigan", "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/64.19_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/64.19_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/64.19_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/64.19_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "14504", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 916, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/916", "Disp_Access_No" : "1963.8", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1870", "_Disp_Start_Dat" : "1865", "_Disp_End_Date" : "1875", "Disp_Title" : "Cigar Store Indian", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Thomas V. Brooks", "Sort_Artist" : "Brooks, Thomas V.", "Disp_Dimen" : "85 x 24 3/8 x 26 1/2 in. (215.9 x 61.9 x 67.3 cm)", "Disp_Height" : "85 in.", "Disp_Width" : "24 3/8 in.", "Dimen_Extent" : "", "Medium" : "Wood", "Support" : "", "Disp_Medium" : "Wood and paint", "Info_Page_Comm" : "If you approached 50 West Main Street in Rochester late in the 19th century, you would have seen this figure standing in front of the tobacco shop located there. So that no one would miss the point that tobacco products were sold inside, it was purchased to stand outside and advertise the shop’s wares. The carving included stylized tobacco leaves and a tobacco box held in the figure’s outstretched right hand. Carvers capitalized early on the relationship between Native Americans and the tobacco that they grew for sacred practices. Carvings of Native Americans were used by the 18th century in British tobacco shops, reflecting the growth of the transatlantic trade. With laws restricting sidewalk signs, and the decline of tobacco shops due to public health awareness, the once-ubiquitous cigar store Indian has become a rarity. [Gallery label text, 2002]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/63.8_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/63.8_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/63.8_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/63.8_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12416", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/63.8_R2.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/63.8_R2.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/63.8_R2.tif", "IIIF_URL": "http://iiif.gallerysystems.com/63.8_R2.tif", "IsPrimary" : "0", "_SurrogateID" : "43078", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/63.8_R3.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/63.8_R3.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/63.8_R3.tif", "IIIF_URL": "http://iiif.gallerysystems.com/63.8_R3.tif", "IsPrimary" : "0", "_SurrogateID" : "43079", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/63.8_R4.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/63.8_R4.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/63.8_R4.tif", "IIIF_URL": "http://iiif.gallerysystems.com/63.8_R4.tif", "IsPrimary" : "0", "_SurrogateID" : "43080", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/63.8_R1.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/63.8_R1.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/63.8_R1.tif", "IIIF_URL": "http://iiif.gallerysystems.com/63.8_R1.tif", "IsPrimary" : "0", "_SurrogateID" : "43081", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4956, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4956", "Disp_Access_No" : "1966.20", "_AccNumSort1" : "", "Disp_Create_DT" : "1875", "_Disp_Start_Dat" : "1875", "_Disp_End_Date" : "1875", "Disp_Title" : "Love's Mirror", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Nicola Cantalamessa-Papotti", "Sort_Artist" : "Cantalamessa-Papotti, Nicola", "Disp_Dimen" : "85 in. (215.9 cm)", "Disp_Height" : "85 in.", "Disp_Width" : "", "Dimen_Extent" : "overall", "Medium" : "Marble", "Support" : "", "Disp_Medium" : "Marble", "Info_Page_Comm" : "When Rochester businessman and art collector Daniel Powers brought this piece home from the Centennial Exposition in Philadelphia in 1876, it made local headlines. One newspaper article admired its “grace and life-likeness rarely met with in modern composition.” The sculpture was on view at Powers’ own gallery downtown for many years, for an admission charge of $.25. Cantalamessa-Papotti also made a portrait of Powers and the monuments for the families of Rochester nurserymen Ellwanger and Barry, at Mt. Hope and Holy Sepulchre cemeteries. Interpretations of the figures vary: the Powers Gallery catalogue identified the subject as Cupid giving a girl her first lesson in love by means of a mirror, but the figures may in fact be Cupid with his mother Venus, who is often shown holding a mirror. Mythological and allegorical characters were beloved of academic artists, who could illustrate an abstract quality such as vanity while demonstrating their prowess at depicting the human figure. [Gallery label text, 2011]", "Dedication" : "Gift of the Isaac Gordon estate", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "Italian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "No. I under "Statuary" in Daniel Powers'' collection catalogue as of 1877. Continuing in later catalogues", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/66.20_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/66.20_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/66.20_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/66.20_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "15989", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "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" : "17389", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Contemporary photo of the Powers Building.", "View" : "" } , ] },{ "embark_ID" : 5169, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5169", "Disp_Access_No" : "1969.34", "_AccNumSort1" : "", "Disp_Create_DT" : "1863", "_Disp_Start_Dat" : "1863", "_Disp_End_Date" : "1863", "Disp_Title" : "The Breton Poet (The Smoker) (Le Fumeur)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Jean Baptiste Carpeaux", "Sort_Artist" : "Carpeaux, Jean Baptiste", "Disp_Dimen" : "19 3/4 in. (50.2 cm)", "Disp_Height" : "19 3/4 in.", "Disp_Width" : "", "Dimen_Extent" : "", "Medium" : "Bronze", "Support" : "", "Disp_Medium" : "Bronze", "Info_Page_Comm" : "", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "French", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "No basis for this work''s title "The Breton Poet" could be found. --KSchauber, Curatorial Research Ass''t", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/69.34_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/69.34_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/69.34_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/69.34_A3.jpg", "IsPrimary" : "1", "_SurrogateID" : "38869", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Other views and angles on disk.", "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" : 268, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/268", "Disp_Access_No" : "1951.38", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Figure with Flamingoes", "Alt_Title" : "The Flamingoes", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Frederick Stuart Church", "Sort_Artist" : "Church, Frederick Stuart", "Disp_Dimen" : "15 x 12 in. (38.1 x 30.5 cm)", "Disp_Height" : "15 in.", "Disp_Width" : "12 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Gift of the Estate of Emily and James Sibley Watson", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Note that Church was considered such an expert on flamingoes and their anatomy that he was the subject of an article in Harpers Weekly (November 1, 1890) entitled "The Flamingo," as well as an article in the New York Herald (Aug 51912) describing how he had completed his 84th flamingo picture. See curatorial file. --KSchauber, Research Ass''t", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/51.38_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.38_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.38_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/51.38_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "29239", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Temporary Image do not use for web or print", "View" : "" } , ] },{ "embark_ID" : 5067, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5067", "Disp_Access_No" : "1955.107", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Group of Nymphs", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Claude Michel", "Sort_Artist" : "Clodion", "Disp_Dimen" : "11 1/2 in. (29.2 cm)", "Disp_Height" : "11 1/2 in.", "Disp_Width" : "", "Dimen_Extent" : "", "Medium" : "Terracotta", "Support" : "", "Disp_Medium" : "Terracotta", "Info_Page_Comm" : "", "Dedication" : "Bertha Buswell Bequest", "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/55.107_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/55.107_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/55.107_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/55.107_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "15937", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 278, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/278", "Disp_Access_No" : "1994.40", "_AccNumSort1" : "", "Disp_Create_DT" : "1846-1847", "_Disp_Start_Dat" : "1846", "_Disp_End_Date" : "1847", "Disp_Title" : "Genesee Scenery", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Thomas Cole", "Sort_Artist" : "Cole, Thomas", "Disp_Dimen" : "6 1/4 x 4 3/8 in. (15.9 x 11.1 cm)", "Disp_Height" : "6 1/4 in.", "Disp_Width" : "4 3/8 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "panel", "Disp_Medium" : "Oil on panel", "Info_Page_Comm" : "Like many artists, Thomas Cole traveled extensively, sketching views that he would later include in finished (and much larger) paintings. On a trip to the Upstate New York region, he sketched Deh-ga-ya-soh Creek at what is now Letchworth State Park in Mount Morris. Later that year, he used the sketch to create this study, which ultimately became the subject of the 'Genesee Scenery' (1847, 51 x 39 1/2 inches, owned by the Museum of Art, Rhode Island School of Design). [Adapted from gallery label text, 2007]", "Dedication" : "Gift of Howard and Florence Merritt", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : ""Thomas Cole: Landscape into History" has picture of the finished version, ''Genesee Scenery,'' 1847, which is owned by The Museum of Art, Rhode Island School of Design, Providence. Subject of the painting is Oay-ga-ya-soh Creek at Letchworth State Park in Mount Morris, New York, identified by Letchworth park rangers.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/94.40_R1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/94.40_R1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/94.40_R1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/94.40_R1.jpg", "IsPrimary" : "0", "_SurrogateID" : "12634", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "THIS PAINTING IS NOT IN THE MAG COLLECTION. complete credit line: Museum of Art, Rhode Island School of Design; Jesse Metcalf Fund", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/94.40_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/94.40_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/94.40_A1.jpg", "IIIF_URL": 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(24.1 x 30.8 cm)", "Disp_Height" : "9 1/2 in.", "Disp_Width" : "12 1/8 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "R. T. Miller Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "British", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "W. G. Constable identified the scene as the valley of the Stour in Essex; Dedham too is in Essex County", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/50.36_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/50.36_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/50.36_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/50.36_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "22752", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 6593, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6593", "Disp_Access_No" : "1991.80", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1840-1845", "_Disp_Start_Dat" : "1840", "_Disp_End_Date" : "1845", "Disp_Title" : "A Mill Wheel (Une roue de moulin)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Jean-Baptiste-Camille Corot", "Sort_Artist" : "Corot, Jean-Baptiste-Camille", "Disp_Dimen" : "8 5/8 x 13 3/16 in. (21.9 x 33.5 cm)", "Disp_Height" : "8 5/8 in.", "Disp_Width" : "13 3/16 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "cardstock", "Disp_Medium" : "Oil on cardstock mounted on canvas", "Info_Page_Comm" : "Corot’s practice of painting directly from nature lasted throughout his long career. His ability to paint the transitory effects of light with subtlety and sensitivity is most characteristic in his landscapes. The simple composition of The Mill Wheel, with its subtle tonal and almost monochromatic color gradations, also shows Corot’s interest in the new medium of photography. ", "Dedication" : "Gift of Dr. and Mrs. James H. Lockhart, Jr.", "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/91.80_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/91.80_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/91.80_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/91.80_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "26160", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "On disk dated 3-25-08", "View" : "" } , ] },{ "embark_ID" : 5154, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5154", "Disp_Access_No" : "1938.8", "_AccNumSort1" : "", "Disp_Create_DT" : "1871-1872", "_Disp_Start_Dat" : "1871", "_Disp_End_Date" : "1872", "Disp_Title" : "Between Coubron and Montfermeil, Undergrowth (Entre Coubron et Montfermeil)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Jean-Baptiste-Camille Corot", "Sort_Artist" : "Corot, Jean-Baptiste-Camille", "Disp_Dimen" : "13 3/4 x 17 1/2 in. (34.9 x 44.5 cm)", "Disp_Height" : "13 3/4 in.", "Disp_Width" : "17 1/2 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Gift of Mrs. Granger A. Hollister", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "French", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "This painting appears on a memo in 1977 where it appears that this work was deaccessioned and exchanged with Newhouse Galleries in New York for another painting. The Corot painting deaccessioned and sold was in fact 55.63, "Souvenir de Douai." The mention of this work, 38.8, was apparently a confusion between the two Corot paintings. --KSchauber, Curatorial Research Assistant", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/38.8_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/38.8_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/38.8_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/38.8_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "14436", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4137, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4137", "Disp_Access_No" : "1943.11", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1872", "_Disp_Start_Dat" : "1867", "_Disp_End_Date" : "1877", "Disp_Title" : "The Stonebreaker", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Gustave Courbet", "Sort_Artist" : "Courbet, Gustave", "Disp_Dimen" : "17 1/2 x 21 1/2 in. (44.5 x 54.6 cm)", "Disp_Height" : "17 1/2 in.", "Disp_Width" : "21 1/2 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Painting is an essentially concrete art and can only consist in the representation of real and existing things. - Gustave Courbet (1861) Courbet was the leading painter of a movement called Realism. Many French citizens began to advocate for democratic and socialist reforms after the Revolution of 1848 overturned the monarchy of King Louis-Philippe. Realist painters depicted modern subjects drawn from the everyday lives of the working class. The subject matter of The Stonebreaker is similar to that of Courbet’s The Stonebreakers, which Courbet exhibited at the Salon in 1850. The earlier painting, destroyed in World War II, depicted two men dressed in heavy, tattered clothing crushing rocks near a road. Because of its raw and, according to some viewers, politically motivated subject matter, The Stonebreakers was extremely controversial with the French public. The Gallery’s The Stonebreaker, painted over 20 years later, reflects a more intimate view of the laborer, solitary as he eats his midday meal. ", "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/43.11_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/43.11_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/43.11_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/43.11_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12365", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 5167, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5167", "Disp_Access_No" : "1969.5", "_AccNumSort1" : "", "Disp_Create_DT" : "1867-1899", "_Disp_Start_Dat" : "1867", "_Disp_End_Date" : "1899", "Disp_Title" : "Worker Bundling Sticks", "Alt_Title" : "Harvester", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Aimé-Jules Dalou", "Sort_Artist" : "Dalou, Aimé-Jules", "Disp_Dimen" : "4 x 4 in. (10.2 x 10.2 cm)", "Disp_Height" : "4 in.", "Disp_Width" : "4 in.", "Dimen_Extent" : "overall", "Medium" : "Bronze", "Support" : "", "Disp_Medium" : "Bronze", "Info_Page_Comm" : "", "Dedication" : "Gift of Mr. and Mrs. Irving S. Norry", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "French", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "The terra cotta model for this piece is in the collection of the Petit Palais, Paris. It probably relates to an unrealized monumental piece honoring workers, planned by Dalou from about 1889. --KSchauber, Curatorial Research Ass''t", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/69.5_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/69.5_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/69.5_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/69.5_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "14511", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 5150, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5150", "Disp_Access_No" : "1978.7", "_AccNumSort1" : "", "Disp_Create_DT" : "1872", "_Disp_Start_Dat" : "1872", "_Disp_End_Date" : "1872", "Disp_Title" : "Near Andresy", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Charles François Daubigny", "Sort_Artist" : "Daubigny, Charles François", "Disp_Dimen" : "17 x 32 1/2 in. (43.2 x 82.6 cm)", "Disp_Height" : "17 in.", "Disp_Width" : "32 1/2 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "panel", "Disp_Medium" : "Oil on panel", "Info_Page_Comm" : "", "Dedication" : "George Eastman Collection of the University of Rochester", "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/78.7_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/78.7_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/78.7_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/78.7_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "22372", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Master files exist on disk MAG v. 56", "View" : "" } , ] },{ "embark_ID" : 6652, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6652", "Disp_Access_No" : "1986.109", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "The Conceited Lawyer (L'Avocat suffisant)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Honoré Daumier", "Sort_Artist" : "Daumier, Honoré", "Disp_Dimen" : "10 9/16 x 8 in. (26.8 x 20.3 cm)", "Disp_Height" : "10 9/16 in.", "Disp_Width" : "8 in.", "Dimen_Extent" : "sheet", "Medium" : "Ink", "Support" : "laid paper", "Disp_Medium" : "Gray ink with gray and black washes over traces of black chalk on laid paper", "Info_Page_Comm" : "", "Dedication" : "Gift of Dr. and Mrs. James H. Lockhart, Jr.", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Drawing", "Creation_Place2" : "French", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/86.109_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/86.109_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/86.109_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/86.109_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "16020", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "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" : 4963, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4963", "Disp_Access_No" : "1988.33", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Standing Woman", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Emilio Fiaschi", "Sort_Artist" : "Fiaschi, Emilio", "Disp_Dimen" : "29 1/4 x 13 9/16 x 8 in. (74.3 x 34.5 x 20.3 cm)", "Disp_Height" : "29 1/4 in.", "Disp_Width" : "13 9/16 in.", "Dimen_Extent" : "", "Medium" : "Marble", "Support" : "", "Disp_Medium" : "Marble", "Info_Page_Comm" : "This figural sculpture, depicting a semi-nude woman in neoclassical drapery leaning back against an elaborate architectural pedestal, must date to the end of the 19th century, but it observes the rules of earlier Academic art: the figure is not identified as a portrait of a specific person nor a character from legend. Her wisp of clothing and archaeological setting suggest an historical reference, but in her anonymity, she is a universal figure. Fiaschi produced a great number of these figures in a variety of sizes, raising the question of the means of production of these copies. It is likely that he oversaw a studio whose team of artists created the duplicates of his original work to fill the demand that arose. [Gallery label text, 2011]", "Dedication" : "Gift of James Avery", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "Italian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/88.33_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/88.33_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/88.33_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/88.33_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "18571", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 6661, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6661", "Disp_Access_No" : "1986.116", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1881", "_Disp_Start_Dat" : "1876", "_Disp_End_Date" : "1886", "Disp_Title" : "The Protector in the Wings (Le protecteur dans les coulisses)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Jean Louis Forain", "Sort_Artist" : "Forain, Jean Louis", "Disp_Dimen" : "12 3/4 x 9 9/16 in. (32.4 x 24.3 cm)", "Disp_Height" : "12 3/4 in.", "Disp_Width" : "9 9/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Pen and ink", "Support" : "paper", "Disp_Medium" : "Dark-gray ink, watercolor, and gouache on wove paper, laid down on board", "Info_Page_Comm" : "Forain, a follower and protégé of Edgar Degas, participated in the Impressionist exhibitions of 1879, 1880, 1881, and 1886. He was influenced by Impressionist theories on light and color. His watercolors, pastels, and paintings focused on Parisian popular entertainment and themes of modernity, including scenes of the ballet, the opera, and the racetrack. The ballerinas of 19th-century France often came from the lower classes of society and were viewed as little more than cabaret performers. Ballet dancers frequently had a wealthy male patron who also served as her protector, escort and lover. Along with his interest in theater and ballet, Forain’s work is characterized by his satirical commentary on modern life and, in his later years, interest in social injustice. In this drawing, the attentive stance and focused gaze of the backstage “protector” suggests the proprietary nature of his relationship with an unseen ballerina as she performs on stage. [Label copy from Monet: Vision and Process exhibition, 2018]", "Dedication" : "Gift of Dr. and Mrs. James H. Lockhart, Jr.", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Drawing", "Creation_Place2" : "French", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/86.116_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/86.116_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/86.116_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/86.116_A3.jpg", "IsPrimary" : "1", "_SurrogateID" : "29173", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Scanned by Andy Olenick April 2009 from an undated transparency shot by James Via. Master exists only in TIF form, not DNG. On disk 090407", "View" : "" } , ] },{ "embark_ID" : 380, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/380", "Disp_Access_No" : "1971.7", "_AccNumSort1" : "", "Disp_Create_DT" : "1865", "_Disp_Start_Dat" : "1865", "_Disp_End_Date" : "1865", "Disp_Title" : "Still Life with Fruit", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "John Francis", "Sort_Artist" : "Francis, John", "Disp_Dimen" : "25 3/16 x 30 3/8 in. (64 x 77.2 cm)", "Disp_Height" : "25 3/16 in.", "Disp_Width" : "30 3/8 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "At first glance, it is tempting to interpret this painting as a celebration of mid-century American bounty. However, a second look finds half-eaten fruit pierced by a knife, bruised peaches, and a hungry hornet, images that suggest overripeness and decay. These elements can be traced back to 16th and 17th century Dutch still life traditions, particularly vanitas paintings that warned of the ephemeral nature of life. Whether or not John Francis – originally an itinerant, self-taught portrait painter – was consciously invoking old master painting traditions, his involvement with the artistic community in Philadelphia would have exposed him to sophisticated subjects and tastes that, perhaps, he incorporated into his work. [Gallery label text, 2009]", "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/71.7_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/71.7_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/71.7_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/71.7_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12638", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 8273, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/8273", "Disp_Access_No" : "1977.147.1", "_AccNumSort1" : "", "Disp_Create_DT" : "1893-1894", "_Disp_Start_Dat" : "1893", "_Disp_End_Date" : "1894", "Disp_Title" : "The Creation of the Universe (L'Univers est créé)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Paul Gauguin", "Sort_Artist" : "Gauguin, Paul", "Disp_Dimen" : "8 x 13 7/8 in. (20.3 x 35.2 cm)", "Disp_Height" : "8 in.", "Disp_Width" : "13 7/8 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Woodcut with selective coloring on Japan paper", "Info_Page_Comm" : "", "Dedication" : "Gift of Dr. and Mrs. James H. Lockhart, Jr.", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Print", "Creation_Place2" : "French", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/77.147.1_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/77.147.1_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/77.147.1_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/77.147.1_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "16009", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 8272, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/8272", "Disp_Access_No" : "1977.147.2", "_AccNumSort1" : "", "Disp_Create_DT" : "1893-1894", "_Disp_Start_Dat" : "1893", "_Disp_End_Date" : "1894", "Disp_Title" : "The Creation of the Universe (L'Univers est créé)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Paul Gauguin", "Sort_Artist" : "Gauguin, Paul", "Disp_Dimen" : "8 x 13 13/16 x 15/16 in. (20.3 x 35.1 x 2.4 cm)", "Disp_Height" : "8 in.", "Disp_Width" : "13 13/16 in.", "Dimen_Extent" : "overall", "Medium" : "Endgrain boxwood", "Support" : "", "Disp_Medium" : "Carved endgrain boxwood woodblock", "Info_Page_Comm" : "Constructed by Kiessling, Paris", "Dedication" : "Gift of Dr. and Mrs. James H. Lockhart, Jr.", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Printmaking Equipment", "Creation_Place2" : "French", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/77.147.2_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/77.147.2_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/77.147.2_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/77.147.2_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "16010", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 392, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/392", "Disp_Access_No" : "1952.35", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1850-1860", "_Disp_Start_Dat" : "1850", "_Disp_End_Date" : "1860", "Disp_Title" : "Portrait of Angeline Wildey Dixon (1817 - 1903)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Jefferson Gauntt", "Sort_Artist" : "Gauntt, Jefferson", "Disp_Dimen" : "35 3/4 x 28 1/2 in. (90.8 x 72.4 cm)", "Disp_Height" : "35 3/4 in.", "Disp_Width" : "28 1/2 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Angeline Wildey Dixon, born circa 1817 - died Feb. 26, 1903 (Tarrytown, NY) Hiram, Angeline and daughter, Sophia Josephine Dixon portraits are not signed or dated. We believe all three were painted by the same artist, Jefferson Gauntt. The Dixon family’s life dates have been obtained through research. Based on these dates we speculate the portraits were painted between 1840 and 1860. The Dixon family lived north of New York City, first in Hudson, NY and then in Tarrytown, NY. Although painted separately, Mr. and Mrs. Dixon appear to share a couch against a large window through which an elaborate landscape can be seen. Both are dressed in stylish and sophisticated attire. It was considered poor taste for men to wear much jewelry; instead, their wives displayed the family’s wealth. Angeline Dixon wears four gold rings and a bracelet with carved black stones. As popular hairstyles of the time covered the ears, earrings fell out of fashion for a time and the hand became the center of interest. Her cameo brooch, carved from shell, is attached to a gold chain with a pendant or watch fob similar to the one worn by her husband. Excerpted from installation text, Oct. 2010 Colleen Piccone, Curatorial Dept. ", "Dedication" : "Gift of Mrs. George B. Penny", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Children" : [ { "Rel_Obj_ID" : "391", "Rel_Obj_Title" : "Portrait of Sophia Josephine Dixon" } ], "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/52.35_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/52.35_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/52.35_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/52.35_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "28607", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "This photo was derived from the after treatment photography (TIF with color bar) provided by WACC.", "View" : "" } , ] },{ "embark_ID" : 393, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/393", "Disp_Access_No" : "1952.36", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1850-1860", "_Disp_Start_Dat" : "1850", "_Disp_End_Date" : "1860", "Disp_Title" : "Portrait of Hiram Westley Dixon (1817- 1888)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Jefferson Gauntt", "Sort_Artist" : "Gauntt, Jefferson", "Disp_Dimen" : "35 3/4 x 28 1/2 in. (90.8 x 72.4 cm)", "Disp_Height" : "35 3/4 in.", "Disp_Width" : "28 1/2 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Hiram Wesley Dixon, Born circa 1817- died Dec. 1, 1888 (Tarrytown, NY) Hiram, Angeline and daughter, Sophia Josephine Dixon portraits are not signed or dated. We believe all three were painted by the same artist, Jefferson Gauntt. The Dixon family’s life dates have been obtained through research. Based on these dates we speculate the portraits were painted between 1840 and 1860. Tombstone, Oct. 2010, Colleen Piccone The Dixon family lived north of New York City, first in Hudson, NY and then in Tarrytown, NY. Although painted separately, Mr. and Mrs. Dixon appear to share a couch against a large window through which an elaborate landscape can be seen. Both are dressed in stylish and sophisticated attire. Hiram W. Dixon was the owner of a hardware store in Hudson. In 1856, Mr. Dixon was elected a messenger of the Electoral College to carry the vote to Washington. A newspaper article reported that each year he “predicted the election returns and his selections were as predictable as the Gallup polls.” In 1864, he was a director of The First National Bank of Hudson and in 1866, appointed postmaster of the Hudson post-office. In 1866, the family became members of the First Reformed Protestant Dutch Church in Hudson. Mr. Dixon was also involved in real estate and insurance in Tarrytown where there is a street named for him. Text Panel, Oct. 2010, Colleen Piccone ", "Dedication" : "Gift of Mrs. George B. Penny", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Sibling" : [ { "Rel_Obj_ID" : "22808", "Rel_Obj_Title" : "Farmers Bank Note" } ], "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/52.36_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/52.36_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/52.36_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/52.36_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "28608", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "This photo was derived from the after treatment photography (TIF with color bar) provided by WACC.", "View" : "" } , ] },{ "embark_ID" : 391, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/391", "Disp_Access_No" : "1942.45", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1850-1860", "_Disp_Start_Dat" : "1850", "_Disp_End_Date" : "1860", "Disp_Title" : "Portrait of Sophia Josephine Dixon", "Alt_Title" : "Mrs. Robert Fulton White", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Jefferson Gauntt", "Sort_Artist" : "Gauntt, Jefferson", "Disp_Dimen" : "50 1/4 x 40 1/8 in. (127.6 x 101.9 cm)", "Disp_Height" : "50 1/4 in.", "Disp_Width" : "40 1/8 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Attributed to Jefferson Gauntt American, 1806 – 1864 Sophia Josephine Dixon, born circa 1852 - date of death unknown Hiram, Angeline and daughter, Sophia Josephine Dixon portraits are not signed or dated. We believe all three were painted by the same artist, Jefferson Gauntt. The Dixon family’s life dates have been obtained through research. Based on these dates we speculate the portraits were painted between 1840 and 1860. Tombstone, Oct. 2010, Colleen Piccone A favorite of MAG visitors, the portrait of Sophia Josephine Dixon was conserved in 2006 through a Lower Hudson Conference Conservation Treatment Grant and has been on view in the 19th century American gallery. We are happy to reunite her with her parents, Hiram and Angeline Dixon, whose portraits were conserved in 2008 through the Henry Luce Foundation American Art Conservation Grant. This is the first time that MAG has exhibited the portraits together as a family. They were given to the Gallery by Sophia Josephine’s daughter, Mrs. George B. Penny. The Dixons’ daughter, Sophia Josephine, holds her pet goldfinch on a string, illustrating her patience and nurturing nature in training a wild bird as her pet. Her white dress with blue ribbon sash, lace pantaloons and straw hat are those of a well-bred young girl from a successful American family. In the early nineteenth century, girls were generally depicted in domestic settings. By 1831, however, “The Mother’s Book” by Lydia Child argued that girls as well as boys would benefit from open air and should be allowed to play outside. The Dixon family lived north of New York City, first in Hudson, NY and then in Tarrytown, NY. Excerpted from installation text, Oct. 2010 Colleen Piccone, Curatorial Dept. ", "Dedication" : "Gift of Mrs. George Barlow Penny", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Parent" : [ { "Rel_Obj_ID" : "392", "Rel_Obj_Title" : "Portrait of Angeline Wildey Dixon (1817 - 1903)" } ], "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/42.45_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/42.45_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/42.45_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/42.45_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12363", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4964, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4964", "Disp_Access_No" : "1957.18", "_AccNumSort1" : "", "Disp_Create_DT" : "1890-1899", "_Disp_Start_Dat" : "1890", "_Disp_End_Date" : "1899", "Disp_Title" : "Interior of a Mosque", "Alt_Title" : "Mosque at Cairo", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Jean-Léon Gérôme", "Sort_Artist" : "Gérôme, Jean-Léon", "Disp_Dimen" : "23 3/8 x 35 3/8 in. (59.4 x 89.9 cm)", "Disp_Height" : "23 3/8 in.", "Disp_Width" : "35 3/8 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "An enthusiastic amateur archaeologist, Gérôme painted dozens of Eastern scenes over his long career, including a number of mosque interiors. Although the mosque seen here has not been identified, the artist was known to have travelled in Asia Minor, the Middle East, and North Africa, and it is believed that this elaborate interior is a composite, made up of details from a number of specific sites. The worshippers assume accurate postures for their devotions, from the initial upright recitation of vows to the final prostration before God. Gérôme was a firm proponent of the Academic style: he taught at the Ecole des Beaux-Arts in Paris, and won national honors and the patronage of royalty. Although his pupils had included icons of modernism such as Fernand Leger and Everett Shinn, Gérôme was initially opposed to any challenges to the supremacy of the Academy. In the face of increasing opposition to his conservative viewpoint, he declared that the work of the Impressionists was “insipid and badly executed.” [Gallery label text, 2011]", "Dedication" : "Gift of Mr. and Mrs. F. Harper Sibley", "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/57.18_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/57.18_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/57.18_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/57.18_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "38927", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Scanned from transparency", "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" : 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" : 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" : 442, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/442", "Disp_Access_No" : "1976.3", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1890", "_Disp_Start_Dat" : "1885", "_Disp_End_Date" : "1895", "Disp_Title" : "Hummingbird with Cattleya and Dendrobium Orchids", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Martin Johnson Heade", "Sort_Artist" : "Heade, Martin Johnson", "Disp_Dimen" : "22 1/4 x 14 3/8 in. (56.5 x 36.5 cm)", "Disp_Height" : "22 1/4 in.", "Disp_Width" : "14 3/8 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Two masterpieces of nature – the hummingbird and the orchid – were subjects that Martin Johnson Heade painted repeatedly. Beginning in 1863, Heade made the first of three trips to Brazil to paint the bird that remained a life-long obsession. Heade wrote, “A few years after my appearance in this breathing world I was attacked by the all-absorbing hummingbird craze and it has never left me since.” The exotic South American jungle was a far cry from the marshes and fields of Heade’s native New England, but both landscapes inspired his passion for the natural world and nurtured the intertwined development of his scientific interest and his artistic brilliance. [Gallery label, 2009]", "Dedication" : "Harris K. Prior Memorial Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "The hummingbird in this painting is a Calliphlox amethystina", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/76.3_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/76.3_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/76.3_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/76.3_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12471", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3914, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3914", "Disp_Access_No" : "1997.173", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Landscape with Figures", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Joseph H. Hidley", "Sort_Artist" : "Hidley, Joseph H.", "Disp_Dimen" : "10 7/8 x 20 7/8 in. (27.6 x 53 cm)", "Disp_Height" : "10 7/8 in.", "Disp_Width" : "20 7/8 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "board", "Disp_Medium" : "Oil on pine board", "Info_Page_Comm" : "This painting was never intended to hang on a wall. Rather, it was created as part of a wall to decorate a panel underneath a tall window in the parlor of a home in Eagle Mills, New York, near Albany. The artist was an unusual individual. In addition to painting scenes to decorate rooms in the Albany region, Joseph Hidley was a house painter, a carpenter, and arranger of stuffed birds and dried flowers. For his underwindow panels, he is thought to have derived his inspiration from European viewbooks, which is why this scene is reminiscent of a Swiss landscape. We are still trying to locate the original view that Hidley copied. [Gallery label text, 2002]", "Dedication" : "Gift of Nancy and Alan Cameros", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "The object was removed from the Laveigne House, Brunswick, New York, October 20, 1988, according to the photocopy from the auction catalog in the curatorial file. The panel itself was originally located beneath a tall window in the home, per conservator Michael Heslip.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/97.173_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/97.173_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/97.173_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/97.173_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "17123", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1819, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1819", "Disp_Access_No" : "1986.26", "_AccNumSort1" : "", "Disp_Create_DT" : "1862", "_Disp_Start_Dat" : "1862", "_Disp_End_Date" : "1862", "Disp_Title" : "Rebels Outside Their Works at Yorktown Reconnoitring [sic] with Dark Lanterns", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Winslow Homer", "Sort_Artist" : "Homer, Winslow", "Disp_Dimen" : "10 7/8 x 9 3/16 in. (27.6 x 23.3 cm)", "Disp_Height" : "10 7/8 in.", "Disp_Width" : "9 3/16 in.", "Dimen_Extent" : "image", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Wood engraving", "Info_Page_Comm" : "Many of Homer’s illustrations for Harper’s Weekly magazine, like this one from May 17, 1862, were based on sketches inspired by his personal experiences. His mother wrote, “Winslow went to the war front of Yorktown and camped out about two months. He suffered much, was without food 3 days at a time, & all in camp either died or were carried away with typhoid fever–plug tobacco and coffee was the Staples….He came home so changed that his best friends did not know him…”. Journalist Steve Mumford wrote one hundred and fifty years later: “What I found moving about Homer’s work was that it wasn’t directly about the morality of the Civil War, so much as it sought to recreate the experience of the soldiers. His art rarely read as propaganda. It showed the powerful bonding among men on the front lines, as well as the terror. Homer had experienced it and drawn it.” [Gallery label, February 21, 2012] ", "Dedication" : "Gift of Howard and Florence Merritt", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/86.26_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/86.26_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/86.26_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/86.26_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "18484", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1822, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1822", "Disp_Access_No" : "1986.23", "_AccNumSort1" : "", "Disp_Create_DT" : "1861", "_Disp_Start_Dat" : "1861", "_Disp_End_Date" : "1861", "Disp_Title" : "The Advance Guard of the Grand Army of the U. S. Crossing the Long Bridge", "Alt_Title" : "", "Obj_Title" : "The Advance Guard of the Grand Army of the United States Crossing the Long Bridge", "Series_Title" : "", "Disp_Maker_1" : "Winslow Homer", "Sort_Artist" : "Homer, Winslow", "Disp_Dimen" : "9 1/8 x 13 7/8 in. (23.2 x 35.2 cm)", "Disp_Height" : "9 1/8 in.", "Disp_Width" : "13 7/8 in.", "Dimen_Extent" : "image", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Wood engraving", "Info_Page_Comm" : "Winslow Homer brought the Civil War to the home front with his illustrations in Harper’s Weekly magazine, including this one from June 8, 1861, shortly after the fighting had begun. The following commentary about the crossing from Washington, D.C. to Alexandria, Virginia appeared in the June 8, 1861 issue: The scene at the bridges was grand and impressive beyond description…The night was cool and clear, thousands of men were drawn up in a line and defiling past, but hardly a whisper was heard from among them. They all preserved a solemn silence, as though sensible of the momentousness of the occasion; but the rumbling of artillery, the clatter of cavalry, the muskets and ordnance glittering in the moonlight, the suppressed commands of the officers, imparted, nevertheless, a liveliness to the imposing spectacle. Among the groups of soldiers making the crossing were regiments from New York State. [Gallery label, February 21, 2012] ", "Dedication" : "Gift of Howard and Florence Merritt", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/86.23_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/86.23_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/86.23_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/86.23_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "13235", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 455, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/455", "Disp_Access_No" : "1941.32", "_AccNumSort1" : "", "Disp_Create_DT" : "1894", "_Disp_Start_Dat" : "1894", "_Disp_End_Date" : "1894", "Disp_Title" : "The Artist's Studio in an Afternoon Fog", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Winslow Homer", "Sort_Artist" : "Homer, Winslow", "Disp_Dimen" : "24 x 30 1/4 in. (61 x 76.8 cm)", "Disp_Height" : "24 in.", "Disp_Width" : "30 1/4 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "In the course of his long and distinguished career, Winslow Homer shifted his focus from robust descriptions of American life to studies of interaction between man and the powerful forces of nature, particularly the ocean. This evocative painting of his studio at his family’s compound on the coast of Maine in Prout’s Neck, near Portland, is considered one of Homer’s most masterful works. [Gallery label text, 2007] A foggy day on the coastal peninsula of Prout's Neck, Maine, inspired Winslow Homer to paint one of his most elegant and contemplative works. His studio and family home stand silhouetted between the darker cliffs in the foreground and the paler sky. The painting's composition balances strong diagonal and horizontal elements in the lower half with a monolithic sky punctuated by a circle of sun. Homer was known for his many paintings of rural America, as well as his illustrations of the Civil War. In 1883, Homer left New York City, where he had been living, and settled permanently in Prout's Neck. During his years there, he produced some of the most thrilling marine paintings in the history of American art. [Gallery label text, 2006]", "Dedication" : "R. T. Miller Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "In 1991 a NYC composer named Dana Paul Perna, visited the Gallery and was so inspired by this work that he composed "Prout''s Neck" a work for piano/harp/percussion and strings. ", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/41.32_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/41.32_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/41.32_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/41.32_A1.jpg", "IsPrimary" : "0", "_SurrogateID" : "12358", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/41.32_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/41.32_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/41.32_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/41.32_A3.jpg", "IsPrimary" : "1", "_SurrogateID" : "53274", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Re-derived from original master because derivative images determined to be too warm.", "View" : "" } , ] },{ "embark_ID" : 612, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/612", "Disp_Access_No" : "1978.187", "_AccNumSort1" : "", "Disp_Create_DT" : "1835-1836", "_Disp_Start_Dat" : "1835", "_Disp_End_Date" : "1836", "Disp_Title" : "Ann Gennett Pixley Lacey (1809 - 1841)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Milton W. Hopkins", "Sort_Artist" : "Hopkins, Milton W.", "Disp_Dimen" : "30 x 25 in. (76.2 x 63.5 cm)", "Disp_Height" : "30 in.", "Disp_Width" : "25 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "In this painting, Ann Lacey (the mother of Pierrepont and Eliza (78.188 and 78.189)) holds a book in her hand. Her traditional pose suggests that she was a cultured and literate individual. The portraits of the Lacey family were passed down through the generations in the family home in Scottsville, New York, until 1932, when they were presented on the occasion of a marriage and moved to a new home in Cambridge, Massachusetts. In 1978, the generous owners donated the group of family heirlooms to the Memorial Art Gallery, to be enjoyed by its many visitors. [Excerpted from gallery label text, 2006] M. W. Hopkins American, 1789 - 1844 Ann Gennett Pixley Lacey (1809 - 1841) ca. 1835 - 1836 Oil on canvas Gift of Mr. and Mrs. Robert H. Dunn in memory of Ruth Hanford Munn and James Buell Munn, 78.187 Ann Gennett was born in Kirkland, New York, and her family later moved to nearby Chili. Around 1830, she married Allen Tobias Lacey, son of a neighboring farmer and political associate of her father. She was the mother of Pierrepont and Eliza, whose portraits hang nearby. In the painting, she is shown holding a small book, a popular motif that suggests literacy and a certain level of affluence. Ann Lacey died of cancer at the age of 32 and she is buried in the Fellows Cemetery in Chili. Shortly thereafter, Allen Lacey remarried, and in 1847, the family moved west to farm in Marshall, Michigan. {Excerpted from gallery label text, Oct. 2011, Colleen Piccone, Curatorial} The Lacey family, whose portraits are on view nearby, lived in this home at 9 Scottsville-Chili Road in Scottsville, New York in the 1830s, where it is believed their portraits were painted and first hung. Two children in this 1890s photograph were relatives of the Lacey family. The girl on the far left was Ruth Hanford (Munn), in whose memory the portraits were given to the Memorial Art Gallery. The paintings were passed down through the generations in this family home until 1932, when they were presented on the occasion of a marriage and moved to a new home in Cambridge, Massachusetts. In 1978, the generous owners donated the group of family heirlooms to the Memorial Art Gallery, to be enjoyed by its many visitors. {Excerpted from gallery text panel, Oct. 2011, Colleen Piccone, Curatorial}", "Dedication" : "Gift of Mr. and Mrs. Robert H. Dunn in memory of Ruth Hanford Munn and James Buell Munn", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Sibling" : [ { "Rel_Obj_ID" : "613", "Rel_Obj_Title" : "Eliza Pixley Lacey (1834 - 1839)" },{ "Rel_Obj_ID" : "614", "Rel_Obj_Title" : "Pierrepont Edward Lacey (1832 - after 1860) and His Dog, Gun" } ], "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/78.187_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/78.187_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/78.187_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/78.187_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12637", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/78.187-191_R1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/78.187-191_R1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/78.187-191_R1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/78.187-191_R1.jpg", "IsPrimary" : "0", "_SurrogateID" : "18240", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Also on CD, the 2 images from which the restored image was created: Lacey House Scottsville A.tif (78.187-191_R2.tif on print master folder), and Lacey House Scottsville B.tif (78.187-191_R3.tif).", "View" : "" } , ] },{ "embark_ID" : 613, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/613", "Disp_Access_No" : "1978.188", "_AccNumSort1" : "", "Disp_Create_DT" : "1835-1836", "_Disp_Start_Dat" : "1835", "_Disp_End_Date" : "1836", "Disp_Title" : "Eliza Pixley Lacey (1834 - 1839)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Milton W. Hopkins", "Sort_Artist" : "Hopkins, Milton W.", "Disp_Dimen" : "30 x 25 in. (76.2 x 63.5 cm)", "Disp_Height" : "30 in.", "Disp_Width" : "25 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "M. W. Hopkins American, 1789 - 1844 Eliza Pixley Lacey (1834 - 1839) ca. 1835 - 36 Oil on canvas Gift of Mr. and Mrs. Robert H. Dunn in memory of Ruth Hanford Munn and James Buell Munn, 78.188 M.W. Hopkins painted several portraits of young girls holding flower baskets. Eliza was painted when she was about two, and may have been Hopkins’ youngest and most endearing sitter. Portrait painting was not Hopkins’ sole occupation; he was also a farmer and ornamental painter who decorated carriages and signs. Eliza was only five when she died. She is buried in Fellows Cemetery in Chili along with her mother, Ann, whose portrait hangs nearby. {Excerpted from gallery label text, Oct. 2011, Colleen Piccone, Curatorial} The Lacey family, whose portraits are on view nearby, lived in this home at 9 Scottsville-Chili Road in Scottsville, New York in the 1830s, where it is believed their portraits were painted and first hung. Two children in this 1890s photograph were relatives of the Lacey family. The girl on the far left was Ruth Hanford (Munn), in whose memory the portraits were given to the Memorial Art Gallery. The paintings were passed down through the generations in this family home until 1932, when they were presented on the occasion of a marriage and moved to a new home in Cambridge, Massachusetts. In 1978, the generous owners donated the group of family heirlooms to the Memorial Art Gallery, to be enjoyed by its many visitors. {Excerpted from gallery text panel, Oct. 2011, Colleen Piccone, Curatorial} ", "Dedication" : "Gift of Mr. and Mrs. Robert H. Dunn in memory of Ruth Hanford Munn and James Buell Munn", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Sibling" : [ { "Rel_Obj_ID" : "612", "Rel_Obj_Title" : "Ann Gennett Pixley Lacey (1809 - 1841)" },{ "Rel_Obj_ID" : "614", "Rel_Obj_Title" : "Pierrepont Edward Lacey (1832 - after 1860) and His Dog, Gun" } ], "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/78.188_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/78.188_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/78.188_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/78.188_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12636", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/78.187-191_R1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/78.187-191_R1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/78.187-191_R1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/78.187-191_R1.jpg", "IsPrimary" : "0", "_SurrogateID" : "18241", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Also on CD, the 2 images from which the restored image was created: Lacey House Scottsville A.tif (78.187-191_R2.tif on print master folder), and Lacey House Scottsville B.tif (78.187-191_R3.tif).", "View" : "" } , ] },{ "embark_ID" : 614, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/614", "Disp_Access_No" : "1978.189", "_AccNumSort1" : "", "Disp_Create_DT" : "1835-1836", "_Disp_Start_Dat" : "1835", "_Disp_End_Date" : "1836", "Disp_Title" : "Pierrepont Edward Lacey (1832 - after 1860) and His Dog, Gun", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Milton W. Hopkins", "Sort_Artist" : "Hopkins, Milton W.", "Disp_Dimen" : "42 x 30 1/8 in. (106.7 x 76.5 cm)", "Disp_Height" : "42 in.", "Disp_Width" : "30 1/8 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "The Lacey family lived and farmed in Scottsville, New York, a small village south of Rochester on the Oatka Creek. Like many families of means, they used the services of a local artist to have their likenesses painted, since photography as we know it did not exist. For many years, this artist was thought to be Noah North, but recent scholarship points to Milton Hopkins, with whom North probably apprenticed. Painting was not Hopkins' sole occupation. As well, he farmed and was a carriage and sign painter, and was involved in anti-Masonic, abolitionist, and temperance politics. Pierrepont Lacey was born in 1832, and like many little boys, he probably was not comfortable posing for a painting in his best clothes. The family dog, Gun, most likely didn't stand still for long, either, so it may have been quite a challenge for the artist to capture the likenesses of boy and dog. When Pierrepont was fifteen, his family moved to Marshall, Michigan. He grew up, married, and was the father of one son. Milton Hopkins moved to Ohio shortly after this portrait was painted, where he continued to paint portraits and work for the Underground Railroad. [Gallery label text, 2000] Like many young boys, Pierrepont Lacey was probably not comfortable posing for a painting dressed in his best suit and red shoes. Gun, the family dog, was most likely a restless subject for the artist to capture, as well. There are six known portraits by Hopkins showing children dressed in their finest clothes, often accompanied by their dogs. All of the children’s parents were connected to the artist through their activities in anti-Masonic, abolitionist, and temperance politics. MAG’s nearly full-size portrait is one of the most engaging likenesses done by Hopkins and has become an American folk art icon. [Excerpted from gallery label text, Oct. 2011, Colleen Piccone, Curatorial] The Lacey family, whose portraits are on view nearby, lived in this home at 9 Scottsville-Chili Road in Scottsville, New York in the 1830s, where it is believed their portraits were painted and first hung. Two children in this 1890s photograph were relatives of the Lacey family. The girl on the far left was Ruth Hanford (Munn), in whose memory the portraits were given to the Memorial Art Gallery. The paintings were passed down through the generations in this family home until 1932, when they were presented on the occasion of a marriage and moved to a new home in Cambridge, Massachusetts. In 1978, the generous owners donated the group of family heirlooms to the Memorial Art Gallery, to be enjoyed by its many visitors. [Excerpted from gallery text panel, Oct. 2011, Colleen Piccone, Curatorial}] ", "Dedication" : "Gift of Mr. and Mrs. Robert H. Dunn in memory of Ruth Hanford Munn and James Buell Munn", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Sibling" : [ { "Rel_Obj_ID" : "612", "Rel_Obj_Title" : "Ann Gennett Pixley Lacey (1809 - 1841)" },{ "Rel_Obj_ID" : "613", "Rel_Obj_Title" : "Eliza Pixley Lacey (1834 - 1839)" } ], "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/78.189_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/78.189_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/78.189_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/78.189_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12478", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/78.187-191_R1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/78.187-191_R1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/78.187-191_R1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/78.187-191_R1.jpg", "IsPrimary" : "0", "_SurrogateID" : "18242", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Also on CD, the 2 images from which the restored image was created: Lacey House Scottsville A.tif (78.187-191_R2.tif on print master folder), and Lacey House Scottsville B.tif (78.187-191_R3.tif).", "View" : "" } , ] },{ "embark_ID" : 5163, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5163", "Disp_Access_No" : "1955.176", "_AccNumSort1" : "", "Disp_Create_DT" : "1800", "_Disp_Start_Dat" : "1800", "_Disp_End_Date" : "1800", "Disp_Title" : "Pierre-François Bernier (1779-1803)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Jean-August-Dominique Ingres", "Sort_Artist" : "Ingres, Jean-August-Dominique", "Disp_Dimen" : "18 1/4 x 15 in. (46.4 x 38.1 cm)", "Disp_Height" : "18 1/4 in.", "Disp_Width" : "15 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "paper", "Disp_Medium" : "Oil on paper mounted on canvas", "Info_Page_Comm" : "", "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/55.176_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/55.176_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/55.176_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/55.176_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "14501", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 483, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/483", "Disp_Access_No" : "1936.61", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1892-1893", "_Disp_Start_Dat" : "1892", "_Disp_End_Date" : "1893", "Disp_Title" : "Early Moonrise in Florida", "Alt_Title" : "July Moonrise in Florida (Eastman Catalog)", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "George Inness", "Sort_Artist" : "Inness, George", "Disp_Dimen" : "24 3/8 x 36 1/4 in. (61.9 x 92.1 cm)", "Disp_Height" : "24 3/8 in.", "Disp_Width" : "36 1/4 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "For George Inness, an adherent of the mystical Swedenborgian faith, landscape elements and colors had specific symbolic qualities. For example, he wrote that the moon is a ‘natural emblem of faith,’ reassuring the faithful that divine light still exists even though it is not directly visible in the night sky. In Inness’s philosophical system, blue is the color of faith. [Gallery label text, 2007]", "Dedication" : "George Eastman Collection of the University of Rochester", "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/36.61_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/36.61_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/36.61_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/36.61_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12351", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/36.61_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/36.61_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/36.61_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/36.61_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "41491", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "36.61_M1 color-corrected and cropped to create new Print Master as none existed. JPG derived from that Print Master", "View" : "" } , ] },{ "embark_ID" : 5156, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5156", "Disp_Access_No" : "1938.12", "_AccNumSort1" : "", "Disp_Create_DT" : "1880-1889", "_Disp_Start_Dat" : "1880", "_Disp_End_Date" : "1889", "Disp_Title" : "Cottage Interior", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Josef Israels", "Sort_Artist" : "Israels, Josef", "Disp_Dimen" : "8 x 7 in. (20.3 x 17.8 cm)", "Disp_Height" : "8 in.", "Disp_Width" : "7 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "panel", "Disp_Medium" : "Oil on panel", "Info_Page_Comm" : "", "Dedication" : "Bequest of Mrs. Granger A. Hollister", "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/38.12_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/38.12_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/38.12_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/38.12_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "14437", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 489, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/489", "Disp_Access_No" : "1975.138", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1876", "_Disp_Start_Dat" : "1871", "_Disp_End_Date" : "1881", "Disp_Title" : "Back from the Orchard", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Eastman Johnson", "Sort_Artist" : "Johnson, Eastman", "Disp_Dimen" : "10 3/8 x 6 5/8 in. (26.4 x 16.8 cm)", "Disp_Height" : "10 3/8 in.", "Disp_Width" : "6 5/8 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "board", "Disp_Medium" : "Oil on board", "Info_Page_Comm" : "", "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/75.138_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.138_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.138_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.138_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12465", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 499, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/499", "Disp_Access_No" : "1974.29", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1860", "_Disp_Start_Dat" : "1855", "_Disp_End_Date" : "1865", "Disp_Title" : "A Showery Day, Lake George", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "John Frederick Kensett", "Sort_Artist" : "Kensett, John Frederick", "Disp_Dimen" : "14 1/8 x 24 1/8 in. (35.9 x 61.3 cm)", "Disp_Height" : "14 1/8 in.", "Disp_Width" : "24 1/8 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "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/74.29_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/74.29_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/74.29_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/74.29_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12461", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2865, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2865", "Disp_Access_No" : "1978.191", "_AccNumSort1" : "", "Disp_Create_DT" : "1819", "_Disp_Start_Dat" : "1819", "_Disp_End_Date" : "1819", "Disp_Title" : "Sampler", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Ann Gennett Pixley Lacey", "Sort_Artist" : "Lacey, Ann Gennett Pixley", "Disp_Dimen" : "10 1/4 x 10 3/4 in. (26 x 27.3 cm)", "Disp_Height" : "10 1/4 in.", "Disp_Width" : "10 3/4 in.", "Dimen_Extent" : "", "Medium" : "Silk", "Support" : "linen", "Disp_Medium" : "Silk thread cross-stitch on linen", "Info_Page_Comm" : "The Memorial Art Gallery is fortunate to have in its collection both a portrait of Ann Gennett Lacey and an example of her needlework made when she was only ten years old (see row seven of her sampler). She was probably enrolled at a female academy in Riga, west of Rochester, where she was taught these skills. Following the American Revolution, schools for young women began to flourish, and fine needlework was one of the subjects (as well as music, reading, writing, and arithmetic) included in the curriculum. The stitching of samplers was believed to be a sign of virtue, achievement and industry, stitched more to demonstrate education than to preserve a skill. {Excerpted from gallery text panel, Oct. 2011, Colleen Piccone, Curatorial} ", "Dedication" : "Gift of Mr. and Mrs. Robert Dunn", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Textiles", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Children" : [ { "Rel_Obj_ID" : "12757", "Rel_Obj_Title" : "Better Things - On Reading (with text) " } ], "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/78.191_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/78.191_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/78.191_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/78.191_A1.jpg", "IsPrimary" : "0", "_SurrogateID" : "13887", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/78.187-191_R1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/78.187-191_R1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/78.187-191_R1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/78.187-191_R1.jpg", "IsPrimary" : "0", "_SurrogateID" : "18243", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Also on CD, the 2 images from which the restored image was created: Lacey House Scottsville A.tif (78.187-191_R2.tif on print master folder), and Lacey House Scottsville B.tif (78.187-191_R3.tif).", "View" : "" } , ] },{ "embark_ID" : 1001, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1001", "Disp_Access_No" : "1986.4", "_AccNumSort1" : "", "Disp_Create_DT" : "1890", "_Disp_Start_Dat" : "1890", "_Disp_End_Date" : "1890", "Disp_Title" : "Nathan Hale (1755 - 1776)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Frederick W. MacMonnies", "Sort_Artist" : "MacMonnies, Frederick W.", "Disp_Dimen" : "28 3/8 x 9 1/2 x 5 13/16 in. (72.1 x 24.1 x 14.8 cm)", "Disp_Height" : "28 3/8 in.", "Disp_Width" : "9 1/2 in.", "Dimen_Extent" : "overall", "Medium" : "Bronze", "Support" : "", "Disp_Medium" : "Bronze", "Info_Page_Comm" : "In the final decades of the nineteenth century, representations of the American Revolution and its heroes were romanticized. Here, Frederick MacMonnies depicts doomed patriot Nathan Hale (1755 – 1776) moments before his execution by the British as punishment for spying. Hale’s ruffled shirt hangs dramatically open, framing and exposing his bare chest and neck, soon to hold the hangman’s noose. With his arms tied back at the elbow, Hale’s hands are left free to gesture as he uttered his famous last words, “I regret that I have but one life to give for my country.” [Gallery label text, 2010]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/86.4_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/86.4_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/86.4_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/86.4_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12503", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 549, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/549", "Disp_Access_No" : "1941.30", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1840", "_Disp_Start_Dat" : "1835", "_Disp_End_Date" : "1845", "Disp_Title" : "Judge and Mrs. Arthur Yates", "Alt_Title" : "Conversation Piece", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "M. M. Manchester", "Sort_Artist" : "Manchester, M. M.", "Disp_Dimen" : "36 x 58 3/4 in. (91.4 x 149.2 cm)", "Disp_Height" : "36 in.", "Disp_Width" : "58 3/4 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "This grand portrait might have been a focal point in Judge and Mrs. Yates’s parlor. Judge Yates built the first steam saw mill in Tioga County, and was justice of the peace and postmaster. Whether the furnishings, book, and clothing accurately depict the Yates’s possessions is impossible to say. They are meant to convince us of the pair’s position within the local gentry. Yards of satiny fabric held in place by a curtain holdback speak of luxury. Mrs. Yates’s jewelry, lace collar, cuffs and trimmed handkerchief, were the accoutrements of a lady of means. Judge Yates holds a book by English theologian William Paley entitled Natural Theology, a text regularly consulted by well-read gentlemen of the 19th century. While we know very little about Mr. Manchester, the artist, we can safely say that he was familiar with the grand tradition of portraiture that frequently placed subjects within ennobling, but not always authentic, settings. [Gallery label text, 2002]", "Dedication" : "Gallery Purchase", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Exhibited in the 1940s with the title "Conversation Piece"", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/41.30_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/41.30_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/41.30_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/41.30_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12357", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 7043, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7043", "Disp_Access_No" : "1959.67", "_AccNumSort1" : "", "Disp_Create_DT" : "19th Century", "_Disp_Start_Dat" : "1800", "_Disp_End_Date" : "1899", "Disp_Title" : "At Dordrecht", "Alt_Title" : "Harbor", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Jacob Maris", "Sort_Artist" : "Maris, Jacob", "Disp_Dimen" : "13 1/2 x 19 in. (34.3 x 48.3 cm)", "Disp_Height" : "13 1/2 in.", "Disp_Width" : "19 in.", "Dimen_Extent" : "", "Medium" : "Watercolor", "Support" : "paper", "Disp_Medium" : "Watercolor on paper", "Info_Page_Comm" : "", "Dedication" : "George Eastman Collection of the University of Rochester", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Watercolor", "Creation_Place2" : "Dutch", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/59.67_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/59.67_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/59.67_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/59.67_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "14731", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 5172, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5172", "Disp_Access_No" : "1978.5", "_AccNumSort1" : "", "Disp_Create_DT" : "1875", "_Disp_Start_Dat" : "1875", "_Disp_End_Date" : "1875", "Disp_Title" : "Harbor Town", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Jacob Maris", "Sort_Artist" : "Maris, Jacob", "Disp_Dimen" : "14 1/4 x 23 1/2 in. (36.2 x 59.7 cm)", "Disp_Height" : "14 1/4 in.", "Disp_Width" : "23 1/2 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "George Eastman Collection of the University of Rochester", "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/78.5_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/78.5_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/78.5_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/78.5_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "26153", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "On disk dated 3-25-08", "View" : "" } , ] },{ "embark_ID" : 7039, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7039", "Disp_Access_No" : "1959.61", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Suburbs of the Hague", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Jacob Maris", "Sort_Artist" : "Maris, Jacob", "Disp_Dimen" : "16 x 13 in. (40.6 x 33 cm)", "Disp_Height" : "16 in.", "Disp_Width" : "13 in.", "Dimen_Extent" : "", "Medium" : "Watercolor", "Support" : "paper", "Disp_Medium" : "Watercolor on paper", "Info_Page_Comm" : "", "Dedication" : "George Eastman Collection of the University of Rochester", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Watercolor", "Creation_Place2" : "Dutch", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/59.61_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/59.61_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/59.61_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/59.61_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "14729", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 5153, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5153", "Disp_Access_No" : "1936.67", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Sheep", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Anton Mauve", "Sort_Artist" : "Mauve, Anton", "Disp_Dimen" : "15 x 27 in. (38.1 x 68.6 cm)", "Disp_Height" : "15 in.", "Disp_Width" : "27 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "George Eastman Collection of the University of Rochester", "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/36.67_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/36.67_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/36.67_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/36.67_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "13059", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "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" : 628, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/628", "Disp_Access_No" : "1964.40", "_AccNumSort1" : "", "Disp_Create_DT" : "1857-1858", "_Disp_Start_Dat" : "1857", "_Disp_End_Date" : "1858", "Disp_Title" : "Still Life Number 26: Silver Basket of Fruit", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Rubens Peale", "Sort_Artist" : "Peale, Rubens", "Disp_Dimen" : "13 7/8 x 20 in. (35.2 x 50.8 cm)", "Disp_Height" : "13 7/8 in.", "Disp_Width" : "20 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "tin", "Disp_Medium" : "Oil on tin", "Info_Page_Comm" : "In March, 1856, Rubens Peale wrote: “I painted all day on Number 15 and Number 26 as it has been very stormy today, nothing going on out doors…. After this, however, visitors came to stay and part of the house was given over to them.” What is somewhat surprising is that Peale, a member of the illustrious family of artists and naturalists, did not begin painting until he was seventy-one. Until then, his work had focused on museums and farming. Considering the artist’s limited visual acuity, the texture and color of the fruit and basket in this quiet still life are all the more remarkable. [Gallery label text, 2005] ", "Dedication" : "Gift of Helen C. Ellwanger", "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/64.40_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/64.40_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/64.40_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/64.40_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12422", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 635, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/635", "Disp_Access_No" : "1965.3", "_AccNumSort1" : "", "Disp_Create_DT" : "after 1890", "_Disp_Start_Dat" : "1891", "_Disp_End_Date" : "1900", "Disp_Title" : "Articles Hung on a Door", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "John Frederick Peto", "Sort_Artist" : "Peto, John Frederick", "Disp_Dimen" : "30 x 21 3/4 in. (76.2 x 55.2 cm)", "Disp_Height" : "30 in.", "Disp_Width" : "21 3/4 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "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/65.3_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/65.3_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/65.3_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/65.3_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12427", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1042, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1042", "Disp_Access_No" : "1955.3", "_AccNumSort1" : "", "Disp_Create_DT" : "1895", "_Disp_Start_Dat" : "1895", "_Disp_End_Date" : "1895", "Disp_Title" : "The Broncho Buster", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Frederic Remington", "Sort_Artist" : "Remington, Frederic", "Disp_Dimen" : "22 1/2 x 20 in. (57.2 x 50.8 cm)", "Disp_Height" : "22 1/2 in.", "Disp_Width" : "20 in.", "Dimen_Extent" : "overall", "Medium" : "Bronze", "Support" : "", "Disp_Medium" : "Bronze", "Info_Page_Comm" : "", "Dedication" : "Gift of a Friend of the Gallery", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/55.3_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/55.3_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/55.3_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/55.3_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12398", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4972, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4972", "Disp_Access_No" : "1955.14", "_AccNumSort1" : "", "Disp_Create_DT" : "1891-1892", "_Disp_Start_Dat" : "1891", "_Disp_End_Date" : "1892", "Disp_Title" : "Study for "Balzac"", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Auguste Rodin", "Sort_Artist" : "Rodin, Auguste", "Disp_Dimen" : "16 in. (40.6 cm)", "Disp_Height" : "16 in.", "Disp_Width" : "", "Dimen_Extent" : "", "Medium" : "Bronze", "Support" : "", "Disp_Medium" : "Bronze", "Info_Page_Comm" : "", "Dedication" : "R. T. Miller Fund", "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/55.14_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/55.14_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/55.14_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/55.14_A3.jpg", "IsPrimary" : "1", "_SurrogateID" : "37405", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4974, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4974", "Disp_Access_No" : "1977.114", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Toilette of Venus", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Auguste Rodin", "Sort_Artist" : "Rodin, Auguste", "Disp_Dimen" : "18 1/2 x 9 in. (47 x 22.9 cm)", "Disp_Height" : "18 1/2 in.", "Disp_Width" : "9 in.", "Dimen_Extent" : "", "Medium" : "Bronze", "Support" : "", "Disp_Medium" : "Bronze", "Info_Page_Comm" : "", "Dedication" : "Gift of Dr. and Mrs. Harold A. Stopp", "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/77.114_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/77.114_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/77.114_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/77.114_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "37424", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/77.114_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/77.114_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/77.114_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/77.114_A3.jpg", "IsPrimary" : "0", "_SurrogateID" : "37425", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1047, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1047", "Disp_Access_No" : "1951.310", "_AccNumSort1" : "", "Disp_Create_DT" : "1865", "_Disp_Start_Dat" : "1865", "_Disp_End_Date" : "1865", "Disp_Title" : "Taking the Oath and Drawing Rations", "Alt_Title" : "", "Obj_Title" : "Taking the Oath and Drawing Rations", "Series_Title" : "", "Disp_Maker_1" : "John Rogers", "Sort_Artist" : "Rogers, John", "Disp_Dimen" : "23 in. (58.4 cm)", "Disp_Height" : "23 in.", "Disp_Width" : "", "Dimen_Extent" : "", "Medium" : "Plaster", "Support" : "", "Disp_Medium" : "Plaster and paint", "Info_Page_Comm" : "For a fervent abolitionist like artist John Rogers, sympathy for the Southern cause did not come easily. However, an incident in Charleston, South Carolina, inspired him to create the story in plaster. During the Civil War, as the Union army moved in to Confederate territory, citizens were required to take a loyalty oath in order to obtain food rations. Rogers has captured one mother’s conflict as she swears loyalty to the hated Union while keeping a protective hand on her child’s head. The Union soldier who is administering the oath tips his cap, simultaneously the chivalrous gentleman and the enemy. The freed slave looks on with concern and confusion. Because of the emotional complexity and the poignant feelings evoked by this group, it was considered one of Rogers’ most successful works. Over 80,000 narrative sculptures were sold by the self-taught Rogers from his workshop in New York City to middle-class Americans looking to decorate their parlors with an engaging work of art. [Gallery label text, 2002]", "Dedication" : "Gift of M. Gertrude Deavenport", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Patented January 30, 1866 Cost $15.00 - 1866 $20.00 - 1871-1876 $15.00 - 1877-1895", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/51.310_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.310_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.310_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/51.310_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "13859", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1050, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1050", "Disp_Access_No" : "1993.24", "_AccNumSort1" : "", "Disp_Create_DT" : "after 1855", "_Disp_Start_Dat" : "1856", "_Disp_End_Date" : "1865", "Disp_Title" : "Nydia, the Blind Flower Girl of Pompeii", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Randolph Rogers", "Sort_Artist" : "Rogers, Randolph", "Disp_Dimen" : "36 x 17 11/16 x 25 in. (91.5 x 45 x 63.5 cm)", "Disp_Height" : "36 in.", "Disp_Width" : "17 11/16 in.", "Dimen_Extent" : "overall", "Medium" : "Marble", "Support" : "", "Disp_Medium" : "Marble", "Info_Page_Comm" : "Nydia, the blind heroine of Edward Bulwer-Lytton’s 1834 novel The Last Days of Pompeii, was the subject of over 50 sculptures by Randolph Rogers. He depicted her, a broken column at her feet, as she used her heightened sense of hearing to listen for Glaucus, the nobleman whom she loved, and his fiancée, Ione. Although Nydia led them to safety, in the end she drowned herself because Glaucus could not be hers. Nineteenth century collectors were fascinated by classical subjects like Pompeii. Many American collectors on the Grand Tour made trips to Italy, where they visited the studios of artists like Rogers and actively commissioned work. At left is a picture of MAG’s Nydia in an earlier collection in the home of Mr. and Mrs. W.W. Chapin, 110 South Fitzhugh Street, Rochester. [Gallery Label, February 6, 2012] ", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Mr. and Mrs. William Wisner Chapin lived at 110 South Fitzhugh Street. The home, originally built in 1830, was expanded with a music room, possibly designed by Andrew Jackson Warner, an architect who wrote an essay about the room for a small pamphlet entitled "The Pipe Organ in the Home of Mr. Chapin". The sculpture of Nydia now owned by the Memorial Art Gallery was located in the Chapins'' music room. MAG also has in its records a photograph of the sculpture in the music room. The home is no longer standing. ", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/93.24_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/93.24_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/93.24_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/93.24_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12520", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Master scan shows more of base of statue, although it is blocked by the color bar. Print master scan has color bar & base of statue cropped out.", "View" : "" } , ] },{ "embark_ID" : 5165, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5165", "Disp_Access_No" : "1939.14", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Wooded Landscape", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Théodore Rousseau", "Sort_Artist" : "Rousseau, Théodore", "Disp_Dimen" : "6 1/4 x 8 1/2 in. (15.9 x 21.6 cm)", "Disp_Height" : "6 1/4 in.", "Disp_Width" : "8 1/2 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "panel", "Disp_Medium" : "Oil on panel", "Info_Page_Comm" : "", "Dedication" : "Gift of Mrs. John Gade, Mrs. O'Donnell Iselin, and Mr. F. Harper Sibley in memory of their father, Hiram W. Sibley", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "French", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Not cited in Schulman''s 1999 catalogue raisonne.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/39.14_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/39.14_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/39.14_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/39.14_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "26141", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "On disk dated 3-25-08", "View" : "" } , ] },{ "embark_ID" : 13960, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13960", "Disp_Access_No" : "2006.10", "_AccNumSort1" : "", "Disp_Create_DT" : "1883-1897", "_Disp_Start_Dat" : "1883", "_Disp_End_Date" : "1897", "Disp_Title" : "Study for a Soldier's Head, Robert Gould Shaw Memorial", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Augustus Saint-Gaudens", "Sort_Artist" : "Saint-Gaudens, Augustus", "Disp_Dimen" : "6 1/4 x 3 1/2 x 5 in. (15.9 x 8.9 x 12.7 cm)", "Disp_Height" : "6 1/4 in.", "Disp_Width" : "3 1/2 in.", "Dimen_Extent" : "without mount", "Medium" : "Bronze", "Support" : "wood", "Disp_Medium" : "Bronze on wood base", "Info_Page_Comm" : "In 1989, Matthew Broderick starred in the film "Glory," based on the life of the abolitionist Civil War hero Robert Gould Shaw. He led the first northern regiment of African American soldiers, which included the two sons of Frederick Douglass, Lewis and Charles. 25-year-old Shaw and 270 of his men from the 54th Massachusetts regiment died in an attack on Fort Wagner in South Carolina on July 18, 1863. Confederate soldiers buried them in a mass grave, blacks and whites together, which was considered at that time to be an insult to a white officer. In 1897, a sculpture was dedicated in Boston in memory of these heroic individuals. In the early stages of the memorial's creation, distinguished sculptor August Saint-Gaudens made plaster models of the soldiers' heads. Several of these were later cast in bronze in a very limited edition, from which the Memorial Art Gallery recently acquired two rare examples. (See also 2006.9) [Gallery label text, 2007]", "Dedication" : "Gift of Richard Brush and Maurice and Maxine Forman Fund in honor of the 20th year of Grant Holcomb's directorship", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2006.10_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2006.10_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2006.10_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2006.10_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "22373", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "On disk MAG v. 56", "View" : "" } , ] },{ "embark_ID" : 13959, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13959", "Disp_Access_No" : "2006.9", "_AccNumSort1" : "", "Disp_Create_DT" : "1883-1897", "_Disp_Start_Dat" : "1883", "_Disp_End_Date" : "1897", "Disp_Title" : "Study for a Soldier's Head, Robert Gould Shaw Memorial", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Augustus Saint-Gaudens", "Sort_Artist" : "Saint-Gaudens, Augustus", "Disp_Dimen" : "7 3/8 x 3 1/2 x 4 5/8 in. (18.7 x 8.9 x 11.7 cm)", "Disp_Height" : "7 3/8 in.", "Disp_Width" : "3 1/2 in.", "Dimen_Extent" : "without mount", "Medium" : "Bronze", "Support" : "wood", "Disp_Medium" : "Bronze on wood base", "Info_Page_Comm" : "In 1989, Matthew Broderick starred in the film "Glory," based on the life of the abolitionist Civil War hero Robert Gould Shaw. He led the first northern regiment of African American soldiers, which included the two sons of Frederick Douglass, Lewis and Charles. 25-year-old Shaw and 270 of his men from the 54th Massachusetts regiment died in an attack on Fort Wagner in South Carolina on July 18, 1863. Confederate soldiers buried them in a mass grave, blacks and whites together, which was considered at that time to be an insult to a white officer. In 1897, a sculpture was dedicated in Boston in memory of these heroic individuals. In the early stages of the memorial's creation, distinguished sculptor August Saint-Gaudens made plaster models of the soldiers' heads. Several of these were later cast in bronze in a very limited edition, from which the Memorial Art Gallery recently acquired two rare examples. (See 2006.10) [Gallery label text, 2007]", "Dedication" : "Gift of Richard Brush and Maurice and Maxine Forman Fund in honor of the 20th year of Grant Holcomb's directorship", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2006.9_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2006.9_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2006.9_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2006.9_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "22374", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "On disk MAG v. 56", "View" : "" } , ] },{ "embark_ID" : 4976, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4976", "Disp_Access_No" : "1974.127", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Landscape Near Guillena", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Emilio Sanchez-Perrier", "Sort_Artist" : "Sanchez-Perrier, Emilio", "Disp_Dimen" : "10 1/2 x 13 7/8 in. (26.7 x 35.2 cm)", "Disp_Height" : "10 1/2 in.", "Disp_Width" : "13 7/8 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "panel", "Disp_Medium" : "Oil on panel", "Info_Page_Comm" : "Guillena is in the province of Seville, in Andalusia, Spain", "Dedication" : "Gift of Gallery Council", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "Spanish", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Found in storage in 1974. Note from Bernard Barryte in curatorial file indicates he believes the work may have originally come in in 1956, but it is unclear why he thought that. No record of its acquisition in 1956 could be found. An undated typed list of objects [found in Registrar''s office files] recommended for disposal includes a listing for “E. Sanchez Perrier River Scene—oil on wood” which is listed as having come from the Council—“left from Flea Market, April in Paris.” That may be this work; the April in Paris event was indeed in 1956. A Sanchez-Perrier landscape was included in a Rochester Art Club exhibition in 1895 (Sixteenth Annual Exhibition and Art Loan Exhibition, no. 48), lent by Mrs. Granger Hollister-- was that the same work, and is that then the source of this painting? As the original donor could not be determined, Gallery Council was credited with this gift. --KSchauber, Curatorial Research Ass''t ", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/74.127_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/74.127_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/74.127_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/74.127_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "20620", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "On disk dated 3-25-08", "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" : 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" : "" } , ] },{ "embark_ID" : 727, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/727", "Disp_Access_No" : "1941.35", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1806", "_Disp_Start_Dat" : "1801", "_Disp_End_Date" : "1811", "Disp_Title" : "Elizabeth Perkins Sturgis (1756 - 1843)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Gilbert Stuart", "Sort_Artist" : "Stuart, Gilbert", "Disp_Dimen" : "28 3/4 x 23 1/8 in. (73 x 58.7 cm)", "Disp_Height" : "28 3/4 in.", "Disp_Width" : "23 1/8 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Gilbert Stuart was known for his portraits of George Washington – including the one on the dollar bill. [Gallery label text, 2007]", "Dedication" : "Purchased through the R. T. Miller, Jr. Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Sibling" : [ { "Rel_Obj_ID" : "726", "Rel_Obj_Title" : "Russell Sturgis (1750 - 1826)" } ], "Curator" : "Portrait of Elizabeth Perkins Sturgis (Mrs. Russell Sturgis), companion portrait to that of Russell Sturgis. Elizabeth Perkins Sturgis was born in Boston in 1756. Married Russell Sturgis in 1773 and died in Boston in 1843. She is dressed in a brown silk dress with black lace shawl and white fichu and is painted against an olive-grey background seated in a green brocade chair. She wears a be-ribboned, white lace cap. Original carved, gilt frame.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/41.35_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/41.35_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/41.35_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/41.35_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12361", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 726, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/726", "Disp_Access_No" : "1941.34", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1806", "_Disp_Start_Dat" : "1801", "_Disp_End_Date" : "1811", "Disp_Title" : "Russell Sturgis (1750 - 1826)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Gilbert Stuart", "Sort_Artist" : "Stuart, Gilbert", "Disp_Dimen" : "28 3/4 x 24 1/8 in. (73 x 61.3 cm)", "Disp_Height" : "28 3/4 in.", "Disp_Width" : "24 1/8 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Gilbert Stuart was known for his portraits of George Washington – including the one on the dollar bill. [Gallery label text, 2007]", "Dedication" : "Purchased through the R. T. Miller, Jr. Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Sibling" : [ { "Rel_Obj_ID" : "727", "Rel_Obj_Title" : "Elizabeth Perkins Sturgis (1756 - 1843)" } ], "Curator" : "Portrait of Russell Sturgis, prominant fur-merchant of Boston and friend of Stuart who painted three portraits of him. Russell Sturgis was born in Barnstable, MA in 1750. He lived in Boston from 1777 until 1826. Married Elizabeth Perkins of Boston in 1773. He died in Boston in 1826. Portrait was painted approximately in 1806. Sturgis is painted in a black suit with white ruffled stock against a grey-olive background. Original carved, gilt frame.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/41.34_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/41.34_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/41.34_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/41.34_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12360", "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" : 4979, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4979", "Disp_Access_No" : "1973.151", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1895", "_Disp_Start_Dat" : "1890", "_Disp_End_Date" : "1900", "Disp_Title" : "The Stream", "Alt_Title" : "Bridge and Stream (from MAG label on backing board)", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Fritz Thaulow", "Sort_Artist" : "Thaulow, Fritz", "Disp_Dimen" : "23 3/4 x 28 3/4 in. (60.3 x 73 cm)", "Disp_Height" : "23 3/4 in.", "Disp_Width" : "28 3/4 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Thaulow spent much time painting in France. This scene probably represents Manéhouville, a village on the Schie River near Dieppe in Normandy. A friend of many of the Impressionists, although he did not experiment with colors of light as they did, Thaulow convinced Claude Monet to visit Norway one winter to paint the snow. [Gallery label text, 1999] ", "Dedication" : "George Eastman Collection of the University of Rochester", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "Norwegian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/73.151_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/73.151_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/73.151_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/73.151_A3.jpg", "IsPrimary" : "1", "_SurrogateID" : "26146", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "On disk dated 3-25-08", "View" : "" } , ] },{ "embark_ID" : 3898, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3898", "Disp_Access_No" : "1998.69", "_AccNumSort1" : "", "Disp_Create_DT" : "1882", "_Disp_Start_Dat" : "1882", "_Disp_End_Date" : "1882", "Disp_Title" : "Stained Glass Window", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Tiffany Studios", "Sort_Artist" : "Tiffany Studios", "Disp_Dimen" : "36 x 19 in. (91.4 x 48.3 cm)", "Disp_Height" : "36 in.", "Disp_Width" : "19 in.", "Dimen_Extent" : "", "Medium" : "Glass", "Support" : "", "Disp_Medium" : "Glass and lead", "Info_Page_Comm" : "Rochester tycoon William Kimball, owner of the Kimball Tobacco Factory, hired Louis Comfort Tiffany to design his home and its furnishings on 145 Troup Street in Corn Hill. The opulent residence, called Kimball’s Castle, housed an art collection and a pipe organ. The window installed here was rescued by Harold Rand during the building’s unfortunate demolition to make way for Route 490. Our thanks go to Valerie O’Hara from Pike Stained Glass Studio for her generous conservation of the window. [Gallery label text, 2002]", "Dedication" : "Gift of Ruth Rand Rapport in memory of Harold S. Rand", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Glass", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/98.69_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/98.69_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/98.69_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/98.69_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "38878", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Photographed in situ as installed, with backlighting", "View" : "" } , ] },{ "embark_ID" : 8481, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/8481", "Disp_Access_No" : "1952.62", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1893", "_Disp_Start_Dat" : "1888", "_Disp_End_Date" : "1898", "Disp_Title" : "Divan Japonais: Poster", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Henri de Toulouse-Lautrec", "Sort_Artist" : "Toulouse-Lautrec, Henri de", "Disp_Dimen" : "30 7/8 x 23 5/8 in. (78.5 x 60 cm)", "Disp_Height" : "30 7/8 in.", "Disp_Width" : "23 5/8 in.", "Dimen_Extent" : "", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Color lithograph", "Info_Page_Comm" : "", "Dedication" : "Gift of the Corner Club of Rochester", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Print", "Creation_Place2" : "French", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/52.62_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/52.62_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/52.62_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/52.62_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "29256", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Temporary image do not use for web or print", "View" : "" } , ] },{ "embark_ID" : 812, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/812", "Disp_Access_No" : "1978.190", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1840", "_Disp_Start_Dat" : "1835", "_Disp_End_Date" : "1845", "Disp_Title" : "Allen Tobias Lacey (1802 - 1872)", "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" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Unknown, 19th century Allen Tobias Lacey (1802 - 1872) ca. 1840 Oil on canvas Gift of Mr. and Mrs. Robert H. Dunn in memory of Ruth Hanford Munn and James Buell Munn, 78.190 Allen Tobias Lacey was a prosperous farmer and businessman who lived in nearby Scottsville in the 1830s. He was active in Whig politics and the anti-Masonic movement, where he may have met M.W. Hopkins, the social activist and folk artist who painted the portraits of his wife, Ann Lacey and two children, Pierrepont and Eliza, on view nearby. However, Mr. Lacey’s portrait is believed to be painted by another artist at a later date. Can you observe at least two differences between Mr. Lacey’s portrait and those of his family? This is the first time that Mr. Lacey’s portrait has been exhibited with those of his wife and children, thanks to a conservation grant from the Henry Luce Foundation. {Excerpted from gallery label text, Oct. 2011, Colleen Piccone, Curatorial} The Lacey family, whose portraits are on view nearby, lived in this home at 9 Scottsville-Chili Road in Scottsville, New York in the 1830s, where it is believed their portraits were painted and first hung. Two children in this 1890s photograph were relatives of the Lacey family. The girl on the far left was Ruth Hanford (Munn), in whose memory the portraits were given to the Memorial Art Gallery. The paintings were passed down through the generations in this family home until 1932, when they were presented on the occasion of a marriage and moved to a new home in Cambridge, Massachusetts. In 1978, the generous owners donated the group of family heirlooms to the Memorial Art Gallery, to be enjoyed by its many visitors. {Excerpted from gallery text panel, Oct. 2011, Colleen Piccone, Curatorial} ", "Dedication" : "Gift of Mr. and Mrs. Robert H. Dunn in memory of Ruth Hanford Munn and James Buell Munn", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/78.187-191_R1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/78.187-191_R1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/78.187-191_R1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/78.187-191_R1.jpg", "IsPrimary" : "0", "_SurrogateID" : "18239", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Also on CD, the 2 images from which the restored image was created: Lacey House Scottsville A.tif (78.187-191_R2.tif on print master folder), and Lacey House Scottsville B.tif (78.187-191_R3.tif).", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/78.190_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/78.190_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/78.190_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/78.190_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "36552", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "This image was derived from an after treatment photo provided by Williamstown Art Conservation Center in 2011.", "View" : "" } , ] },{ "embark_ID" : 811, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/811", "Disp_Access_No" : "1977.196", "_AccNumSort1" : "", "Disp_Create_DT" : "after 1851", "_Disp_Start_Dat" : "1852", "_Disp_End_Date" : "1861", "Disp_Title" : "American Harvesting (after Jasper Cropsey)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, American", "Sort_Artist" : "Unknown, American", "Disp_Dimen" : "32 1/2 x 44 1/4 in. (82.6 x 112.4 cm)", "Disp_Height" : "32 1/2 in.", "Disp_Width" : "44 1/4 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "While we may not know who painted this work, we can trace its inspiration. In 1851 Jasper Cropsey's painting American Harvesting was in the American Art-Union's annual exhibition in New York. The American Art-Union, formed in 1844, promoted American artists by purchasing and exhibiting their works. To familiarize more Americans with these artists, engravings were made and distributed to members. Possibly, one of these engravings was owned by the artist who did the Gallery's painting. Several other versions of this work exist and were most likely inspired by the same print. A version of the this image was printed by Currier & Ives, entitled 'A Summer Landscape: Haymaking." Cropsey's painting is currently in the collection of the <a href="http://www.artmuseum.iu.edu">Indiana University Art Museum</a>. [Gallery label text, 2002]", "Dedication" : "Anonymous gift", "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/77.196_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/77.196_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/77.196_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/77.196_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "13420", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/77.196_R1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/77.196_R1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/77.196_R1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/77.196_R1.jpg", "IsPrimary" : "0", "_SurrogateID" : "21368", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Image of American Harvesting in the collection of the Indiana University Art Museum. Approved by IUAM to go on our website as a detail image", "View" : "" } , ] },{ "embark_ID" : 1111, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1111", "Disp_Access_No" : "1971.41", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Hobby Horse", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, American", "Sort_Artist" : "Unknown, American", "Disp_Dimen" : "27 in. (68.6 cm)", "Disp_Height" : "27 in.", "Disp_Width" : "", "Dimen_Extent" : "", "Medium" : "Wood", "Support" : "", "Disp_Medium" : "Wood and paint", "Info_Page_Comm" : "Children around the world have played with toy horses for centuries. Egyptian children in the fifth century, Viking children in the eleventh century, and American children today enjoy riding toy horses and pulling them along on wheels. This horse, with its horsehair tail, glass eyes, and leather seat, originally might have been created to move on a wheeled platform. [Gallery label text, 2002]", "Dedication" : "General Acquisitions Fund", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Recreational Artifact", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/71.41_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/71.41_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/71.41_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/71.41_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "13876", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1116, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1116", "Disp_Access_No" : "1973.9", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Santo (Crucifix)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, American", "Sort_Artist" : "Unknown, American", "Disp_Dimen" : "37 x 24 in. (94 x 61 cm)", "Disp_Height" : "37 in.", "Disp_Width" : "24 in.", "Dimen_Extent" : "", "Medium" : "Wood", "Support" : "", "Disp_Medium" : "Wood and paint", "Info_Page_Comm" : "The image of Christ on the cross is fundamental to Christian belief and the art that expresses it. The nearby Tramp Art Shrine, made in the northeastern United States, as well as many European works on the second floor of the Gallery, incorporate images similar to this santo made by an unknown santero. Santero is the traditional name for the carver of santos, which are typically figures of Christ or saints. When European missionaries brought Catholicism across the ocean to the New World, they also brought with them traditional forms of religious iconography and woodcarving techniques. Spanish friars were the original santeros, carving the figures to decorate mission churches; during the 19th century, lay people became santeros, and santos became part of the domestic religious tradition. [Gallery label text, 2002]", "Dedication" : "Gift of the Women's Council in honor of Isabel C. Herdle", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "American, Southwest, possibly Franciscan", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/73.9_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/73.9_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/73.9_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/73.9_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "14242", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Temporary image. Reference only.", "View" : "" } , ] },{ "embark_ID" : 1113, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1113", "Disp_Access_No" : "1971.43", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Trade Sign for a Hat Maker", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, American", "Sort_Artist" : "Unknown, American", "Disp_Dimen" : "21 3/4 x 24 x 30 in. (55.2 x 61 x 76.2 cm)", "Disp_Height" : "21 3/4 in.", "Disp_Width" : "24 in.", "Dimen_Extent" : "", "Medium" : "Tin", "Support" : "", "Disp_Medium" : "Tin and paint", "Info_Page_Comm" : "", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/71.43_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/71.43_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/71.43_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/71.43_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "13879", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1129, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1129", "Disp_Access_No" : "1987.4", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1865-1900", "_Disp_Start_Dat" : "1865", "_Disp_End_Date" : "1900", "Disp_Title" : "Tramp Art Shrine", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, American", "Sort_Artist" : "Unknown, American", "Disp_Dimen" : "43 1/2 x 26 1/4 x 19 in. (110.5 x 66.7 x 48.3 cm)", "Disp_Height" : "43 1/2 in.", "Disp_Width" : "26 1/4 in.", "Dimen_Extent" : "", "Medium" : "Wood", "Support" : "", "Disp_Medium" : "Wood, paper and mirror", "Info_Page_Comm" : "Tramp art, originally thought to have been a style of woodworking used by hoboes to make gifts for people who provided them with hospitality, is now understood to encompass a broader group of work by self-taught artisans. Typically using found materials, the creators used a chip or notch carving technique and layering of materials to create optically dazzling patterns and designs. In this work, an Armour meat packing box was used for the body of the shrine, to which layers of intricately decorated details were added. In the interior are references from the New Testament to the betrayal and death of Jesus, among them the cross, the cock, the ladder and the spear. While we do not know the artist’s name, the degree of his piety communicates itself through his painstaking creation of this personal shrine. [Gallery label text, 2002]", "Dedication" : "Lillian Utz Fund and Tribute Fund", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Per dealer, found in western Pennsylvania. Partly made from Armour crate.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/87.4_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/87.4_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/87.4_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/87.4_A1.jpg", "IsPrimary" : "0", "_SurrogateID" : "12505", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/87.4_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/87.4_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/87.4_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/87.4_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "45449", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1122, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1122", "Disp_Access_No" : "1975.108", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1810", "_Disp_Start_Dat" : "1805", "_Disp_End_Date" : "1815", "Disp_Title" : "Weathervane: Angel Gabriel", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, American", "Sort_Artist" : "Unknown, American", "Disp_Dimen" : "21 x 66 1/2 in. (53.3 x 168.9 cm)", "Disp_Height" : "21 in.", "Disp_Width" : "66 1/2 in.", "Dimen_Extent" : "", "Medium" : "Iron", "Support" : "", "Disp_Medium" : "Iron and paint", "Info_Page_Comm" : "", "Dedication" : "General Acquisitions Fund; Acquired in honor of Isabel C. Herdle", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "From the Congregational Church of Bristol, New York", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.108_R1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.108_R1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.108_R1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.108_R1.jpg", "IsPrimary" : "0", "_SurrogateID" : "14794", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.108_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.108_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.108_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.108_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "19263", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "rotated image", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.108_R2.tif", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.108_R2.tif", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.108_R2.tif", "IIIF_URL": "http://iiif.gallerysystems.com/75.108_R2.tif", "IsPrimary" : "0", "_SurrogateID" : "38546", "Image_Type" : "", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1109, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1109", "Disp_Access_No" : "1970.59", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1876", "_Disp_Start_Dat" : "1871", "_Disp_End_Date" : "1881", "Disp_Title" : "Weathervane: Liberty", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, American", "Sort_Artist" : "Unknown, American", "Disp_Dimen" : "39 1/4 in. (99.7 cm)", "Disp_Height" : "39 1/4 in.", "Disp_Width" : "", "Dimen_Extent" : "", "Medium" : "Copper", "Support" : "", "Disp_Medium" : "Copper", "Info_Page_Comm" : "", "Dedication" : "General Acquisitions Fund", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "One of 9 figures of "Liberty" holding aloft American Flag, designed for 1876 Centennial, New England", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/70.59_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/70.59_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/70.59_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/70.59_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "17117", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1112, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1112", "Disp_Access_No" : "1971.42", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Weathervane: Steer", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, American", "Sort_Artist" : "Unknown, American", "Disp_Dimen" : "12 1/4 x 24 1/2 in. (31.1 x 62.2 cm)", "Disp_Height" : "12 1/4 in.", "Disp_Width" : "24 1/2 in.", "Dimen_Extent" : "", "Medium" : "Copper", "Support" : "", "Disp_Medium" : "Copper and bronze", "Info_Page_Comm" : "", "Dedication" : "General Acquisitions Fund", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/71.42_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/71.42_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/71.42_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/71.42_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "14254", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Temporary image. Reference only.", "View" : "" } , ] },{ "embark_ID" : 7899, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7899", "Disp_Access_No" : "1922.29", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Drinking Cup", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, First Nations (Canada)", "Sort_Artist" : "Unknown, First Nations (Canada)", "Disp_Dimen" : "3 1/2 x 4 x 4 in. (8.9 x 10.2 x 10.2 cm)", "Disp_Height" : "3 1/2 in.", "Disp_Width" : "4 in.", "Dimen_Extent" : "", "Medium" : "Cherry", "Support" : "", "Disp_Medium" : "Cherry bark", "Info_Page_Comm" : "", "Dedication" : "Gift of Mrs. Henry A. Strong", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Woodwork", "Creation_Place2" : "First Nations (Canada)", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/22.29_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/22.29_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/22.29_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/22.29_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "25871", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 6633, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6633", "Disp_Access_No" : "1991.15", "_AccNumSort1" : "", "Disp_Create_DT" : "1895-1900", "_Disp_Start_Dat" : "1895", "_Disp_End_Date" : "1900", "Disp_Title" : "Harem Scene", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Daniel Israel", "Sort_Artist" : "Israel, Daniel", "Disp_Dimen" : "35 1/2 x 23 1/2 in. (90.2 x 59.7 cm)", "Disp_Height" : "35 1/2 in.", "Disp_Width" : "23 1/2 in.", "Dimen_Extent" : "sight", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "The scene depicted here is an example of Orientalism, the portrayal of Eastern figures and scenes-both real and imagined-by western artists. This was a popular aspect of Academic painting. Here a girl tries on jewelry while an older woman, perhaps her maid, looks on approvingly. The intimate alcove of a vast, columned interior allows the artist to show his skill at rendering the patterned fabrics, such as the hanging drapery and the maid's robe, and the jewels that spill from the inlaid chest behind the girl. The 19th century provided many opportunities for artists to travel to Asia and Africa as those lands were being explored, exploited and colonized by European countries. While some paintings were anthropologically correct, based on the artists' experiences, others chose to portray the people of these faraway lands in settings and poses that demonstrated the vast perceived difference between their circumstances and Europeans'. Women, especially, were held up as object lessons of decadence and sensuality in ways Europeans would not have been. [Gallery label text, 2011]", "Dedication" : "Anonymous gift", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "Austrian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Found in collection. Note in file from 8/19/91 to send the painting to (T287) to Williamstown for treatment. It also says "Let''s accession the painting with the number 91.15 -- worksheet attached to Lee''s copy of this memo for completion. mv"", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/91.15_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/91.15_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/91.15_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/91.15_A3.jpg", "IsPrimary" : "1", "_SurrogateID" : "26155", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "On disk dated 3-25-08", "View" : "" } , ] },{ "embark_ID" : 2833, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2833", "Disp_Access_No" : "1922.7", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Basket with Lid", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Hopi", "Sort_Artist" : "Unknown, Hopi", "Disp_Dimen" : "5 1/2 x 7 1/2 in. diam. (14 x 19.1 cm diam.)", "Disp_Height" : "5 1/2 in.", "Disp_Width" : "7 1/2 in.", "Dimen_Extent" : "", "Medium" : "Yucca palm leaves", "Support" : "", "Disp_Medium" : "Yucca palm leaves, natural dyes", "Info_Page_Comm" : "This deep coiled basket is comprised of yucca fibers sewn over grass bundles. The leaves of the yucca plant supplied a variety of hues suitable for basket making, ranging from white to pale yellow to green. Black dye was made from sunflower seeds combined with piñon gum and ochre. [Gallery label text, 2009]", "Dedication" : "Gift of Mrs. Henry A. Strong", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Basketry", "Creation_Place2" : "Native American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/22.7_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/22.7_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/22.7_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/22.7_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "25861", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4784, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4784", "Disp_Access_No" : "1983.55", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1850-1900", "_Disp_Start_Dat" : "1850", "_Disp_End_Date" : "1900", "Disp_Title" : "Rama, Sita and Lakshmana Return to Ayodhya", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Indian", "Sort_Artist" : "Unknown, Indian", "Disp_Dimen" : "11 1/4 x 17 15/16 in. (28.6 x 45.6 cm)", "Disp_Height" : "11 1/4 in.", "Disp_Width" : "17 15/16 in.", "Dimen_Extent" : "sheet (irregular)", "Medium" : "Opaque watercolor", "Support" : "paper", "Disp_Medium" : "Opaque watercolor, ink, silver and gold paint on paper", "Info_Page_Comm" : "This painting shows a scene at the end of the epic Indian poem, The Ramayana. Rama and Lakshmana have saved Sita and they all fly home on the aerial chariot Pushpaka to see Rama crowned king of Ayodhya. They ride with twenty-three million monkeys and bears who helped them defeat the demon king Ravana. When Ravana asked Brahma to make him indestructible to gods and demons, he underestimated the power of ordinary men and animals, who became his downfall after his abduction of Rama's wife, Sita.", "Dedication" : "Gift of Helen H. Reiff in memory of Robert F. Reiff", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "Indian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/83.55_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/83.55_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/83.55_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/83.55_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "14524", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 6873, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6873", "Disp_Access_No" : "1983.52", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1800-1850", "_Disp_Start_Dat" : "1800", "_Disp_End_Date" : "1850", "Disp_Title" : "The God Shiva, His Consort Parvati, and a Musician", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Indian", "Sort_Artist" : "Unknown, Indian", "Disp_Dimen" : "7 1/2 x 10 5/8 in. (19.1 x 27 cm)", "Disp_Height" : "7 1/2 in.", "Disp_Width" : "10 5/8 in.", "Dimen_Extent" : "sheet (irregular)", "Medium" : "Opaque watercolor", "Support" : "paper", "Disp_Medium" : "Opaque watercolor, ink, gold and silver paint on paper", "Info_Page_Comm" : "Shiva as the divine ascetic and the embodiment of the creative-destructive force can be identified by many attributes, each having symbolic value. He wears a tiger/leopard skin wrap (he has conquered pride), snakes coil around his hair, neck, and arms (cosmic energy, regeneration), he holds an axe (destruction) and a deer (regeneration, control of man's unsteady mind). His matted hair contains the crescent moon (time), from the top of his head flows the river Ganga (fertility), and he has a third eye in the center of his forehead (wisdom). Shiva's consort or female half, Parvati, shown in quite elaborate dress, sits next to him as a musician entertains them. The white bull in the lower corner is Nandi, Shiva's vahana or vehicle, who, in India, is often worshiped in Shiva's place.", "Dedication" : "Gift of Helen H. Reiff in memory of Robert F. Reiff", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "Indian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/83.52_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/83.52_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/83.52_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/83.52_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "14767", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 11340, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/11340", "Disp_Access_No" : "", "_AccNumSort1" : "", "Disp_Create_DT" : "1868-1899", "_Disp_Start_Dat" : "1868", "_Disp_End_Date" : "1899", "Disp_Title" : "Okimono: Father and Son", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Japanese", "Sort_Artist" : "Unknown, Japanese", "Disp_Dimen" : "", "Disp_Height" : "", "Disp_Width" : "", "Dimen_Extent" : "", "Medium" : "Ivory", "Support" : "", "Disp_Medium" : "Ivory", "Info_Page_Comm" : "", "Dedication" : "Anonymous loan", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "Japanese", "Department" : "", "Obj_Name" : "", "Period" : "Meiji Period (1868-1912)", "Style" : "", "Edition" : "", "Curator" : "Does not match anything on Ingle bequest list (incoming 3773)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/T158_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/T158_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/T158_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/T158_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "15322", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/T158_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/T158_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/T158_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/T158_A2.jpg", "IsPrimary" : "0", "_SurrogateID" : "18724", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 11339, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/11339", "Disp_Access_No" : "", "_AccNumSort1" : "", "Disp_Create_DT" : "1868-1899", "_Disp_Start_Dat" : "1868", "_Disp_End_Date" : "1899", "Disp_Title" : "Okimono: Peasant Figure", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Japanese", "Sort_Artist" : "Unknown, Japanese", "Disp_Dimen" : "", "Disp_Height" : "", "Disp_Width" : "", "Dimen_Extent" : "", "Medium" : "Ivory", "Support" : "", "Disp_Medium" : "Ivory", "Info_Page_Comm" : "", "Dedication" : "Anonymous loan", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "Japanese", "Department" : "", "Obj_Name" : "", "Period" : "Meiji Period (1868-1912)", "Style" : "", "Edition" : "", "Curator" : "Does not match anything on Ingle bequest list (incoming 3773)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/T157_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/T157_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/T157_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/T157_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "18720", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/T157_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/T157_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/T157_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/T157_A2.jpg", "IsPrimary" : "0", "_SurrogateID" : "18721", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4889, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4889", "Disp_Access_No" : "1964.111", "_AccNumSort1" : "", "Disp_Create_DT" : "mid 19th century", "_Disp_Start_Dat" : "1833", "_Disp_End_Date" : "1866", "Disp_Title" : "Raven Dance Mask", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Kwakwaka'wakw", "Sort_Artist" : "Unknown, Kwakwaka'wakw", "Disp_Dimen" : "56 in. (142.2 cm)", "Disp_Height" : "", "Disp_Width" : "56 in.", "Dimen_Extent" : "", "Medium" : "Wood, pigment", "Support" : "", "Disp_Medium" : "Wood, pigment, cedar bark", "Info_Page_Comm" : "This mask represents Raven, one of the creatures most important to the Kwakwaka’wakw people. Known to be quick learners, aggressive defenders of territory, and very social with one another, ravens have been a respected clan emblem for centuries. Raven masks are worn during a portion of the hamatsa, an initiation masquerade for young men. Following a choreographed sequence, with beaks projecting upward and masks moving wildly from side to side, the hinged lower jaw of the mask is manipulated with a cord. When the cord is pulled, the mask responds with a loud clacking sound – the “hap, hap” of the birds’ voices – adding to the dramatic effect of the performance. Hamatsa is performed at Kwakwaka’wakw potlatches. Potlatches are traditional cross-clan celebrations including dancing, feasting and magnanimous distribution of gifts held to honor births, marriages, deaths and other changes in social relationships. Potlatches continue to this day, despite attempts to ban them by both the Canadian and United States governments in the late 19th century. [Gallery label text, 2009] ", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Woodwork", "Creation_Place2" : "Native Canadian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/64.111_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/64.111_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/64.111_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/64.111_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "19265", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 10110, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/10110", "Disp_Access_No" : "1983.18", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Grease Dish", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Nisga'a", "Sort_Artist" : "Unknown, Nisga'a", "Disp_Dimen" : "2 1/4 x 5 1/2 x 11 3/4 in. (5.7 x 14 x 29.8 cm)", "Disp_Height" : "2 1/4 in.", "Disp_Width" : "5 1/2 in.", "Dimen_Extent" : "", "Medium" : "Wood", "Support" : "", "Disp_Medium" : "Cedar, opercula (sea snail shell) inlay", "Info_Page_Comm" : "The eulachon fish, a type of smelt with a very high oil content, was dried then pressed for its oil. This oil (still used today in cooking and flavoring) was placed in a grease dish on the table, into which diners would dip dried fish and other delicacies. This dish is decorated around the rim with opercula, the highly prized ornamental part of a snail shell. [Gallery label text, 2009]", "Dedication" : "Gift of Mrs. Nathaniel T. Whitcomb", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Woodwork", "Creation_Place2" : "First Nations (Canada)", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/83.18_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/83.18_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/83.18_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/83.18_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "26666", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 7486, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7486", "Disp_Access_No" : "1984.45", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Face Mask", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Nuxálk", "Sort_Artist" : "Unknown, Nuxálk", "Disp_Dimen" : "29 1/2 x 18 x 11 in. (74.9 x 45.7 x 27.9 cm)", "Disp_Height" : "29 1/2 in.", "Disp_Width" : "18 in.", "Dimen_Extent" : "", "Medium" : "Wood", "Support" : "", "Disp_Medium" : "Wood, paint", "Info_Page_Comm" : "The Nuxalkmc (Nuxálk people) were once referred to as the "Bella Coola." Their homeland and territory are located in and around the Bella Coola valley on the central coast of what is now known as British Columbia, Canada. A rugged inland area located 75 miles from the Pacific Ocean, the region features high mountains rising steeply from the shores of inlets. Nuxálk traditional stories are filled with fabulous beings, many human in form and represented by masked performers in ceremonial dance dramas. Both natural and commercial pigments were used in the decoration of masks, and the characteristic blue, vermilion and black painting is dramatic and distinctive. Very little is known about this mask that is too large to have been worn. [Gallery label text, 2009]", "Dedication" : "Gift of Isabel C. Herdle", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "First Nations (Canada)", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Per Art Committee minutes of Oct 1984, purchased by Ms. Herdle at a Rochester art fair, from a man whose grandfather had acquired it while building the Canadian-Pacific railroad.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/84.45_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/84.45_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/84.45_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/84.45_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "26809", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2818, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2818", "Disp_Access_No" : "1922.5", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Shaman Medicine Charm", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Tlingit", "Sort_Artist" : "Unknown, Tlingit", "Disp_Dimen" : "6 1/4 x 2 1/4 in. (15.9 x 5.7 cm)", "Disp_Height" : "6 1/4 in.", "Disp_Width" : "2 1/4 in.", "Dimen_Extent" : "", "Medium" : "Walrus ivory", "Support" : "", "Disp_Medium" : "Walrus ivory", "Info_Page_Comm" : "The belief that humans can draw power from the non-human world is a framework that underlies many belief systems, and is especially strong in most Native North American culture groups. Shamans played an especially important role in this respect. Responsible for curing the sick, controlling the weather, guaranteeing successful fish runs, combating witches, and providing assistance during battle, shamans moved freely between the human and spirit world. Tlingit shamans often carried charms like this one. Each charm is unique and often includes a multiplicity of figures. This charm is in the form of a whale, with the rear assuming the form of a land otter, a highly powerful spirit helper to the shaman. [Gallery label text, 2009]", "Dedication" : "Gift of Mrs. Henry A. Strong", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "Native American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/22.5_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/22.5_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/22.5_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/22.5_A1.jpg", "IsPrimary" : "0", "_SurrogateID" : "15069", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/22.5_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/22.5_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/22.5_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/22.5_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "25805", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 7905, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7905", "Disp_Access_No" : "1953.62", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Comb", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Tlingit or Haida", "Sort_Artist" : "Unknown, Tlingit or Haida", "Disp_Dimen" : "5 1/8 in. (13 cm)", "Disp_Height" : "5 1/8 in.", "Disp_Width" : "", "Dimen_Extent" : "", "Medium" : "Bone", "Support" : "", "Disp_Medium" : "Bone", "Info_Page_Comm" : "Combs were worn by shamans during curing ceremonies as well as when they were not practicing. Decorated with both spirit helpers and crest emblems, they were also used by chiefs and women of status. [Gallery label text, 2009]", "Dedication" : "Presented by the Rochester Historical Society", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Decorative Arts", "Creation_Place2" : "Native American or First Nations (Canada)", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/53.62_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/53.62_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/53.62_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/53.62_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "25820", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2824, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2824", "Disp_Access_No" : "1933.28", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Ladle", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Tlingit or Haida", "Sort_Artist" : "Unknown, Tlingit or Haida", "Disp_Dimen" : "7 in. (17.8 cm)", "Disp_Height" : "7 in.", "Disp_Width" : "", "Dimen_Extent" : "", "Medium" : "Horn", "Support" : "", "Disp_Medium" : "Horn", "Info_Page_Comm" : "Feast spoons were a prestige item brought out during special occasions to serve soup or stew. This spoon was made of mountain-goat horn, which was soaked and steamed, bent into shape, cooled in a mold, and then carved. The handles of these spoons resemble totem poles, with crest images carefully carved; here you see a raven and a seal. [Gallery label text, 2009]", "Dedication" : "Presented by the Rochester Historical Society", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Decorative Arts", "Creation_Place2" : "Native American or First Nations (Canada)", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/33.28_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/33.28_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/33.28_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/33.28_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "25817", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2598, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2598", "Disp_Access_No" : "1973.141", "_AccNumSort1" : "", "Disp_Create_DT" : "1860-1900", "_Disp_Start_Dat" : "1860", "_Disp_End_Date" : "1900", "Disp_Title" : "Jar (Olla)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Zuni Pueblo", "Sort_Artist" : "Unknown, Zuni Pueblo", "Disp_Dimen" : "8 7/8 x 13 3/4 in. (22.5 x 35 cm)", "Disp_Height" : "8 7/8 in.", "Disp_Width" : "13 3/4 in.", "Dimen_Extent" : "overall", "Medium" : "Clay", "Support" : "", "Disp_Medium" : "Clay and mineral paint", "Info_Page_Comm" : "Focusing more on design motifs and less on symmetry of form, a Zuni jar often combines lyrical figures with geometric abstractions. This jar depicts a distinctive Zuni design, a painting of a deer with a heart-line: a red arrow of life or breath that extends from its mouth to its chest. [Gallery label text, 2009]", "Dedication" : "Gift of Mr. and Mrs. Harris K. Prior", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Ceramics", "Creation_Place2" : "Native American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/73.141_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/73.141_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/73.141_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/73.141_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "25824", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/73.141_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/73.141_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/73.141_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/73.141_A3.jpg", "IsPrimary" : "0", "_SurrogateID" : "25825", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 21403, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/21403", "Disp_Access_No" : "2008.29", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1891", "_Disp_Start_Dat" : "1886", "_Disp_End_Date" : "1896", "Disp_Title" : "Abraham Lincoln", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Leonard Wells Volk", "Sort_Artist" : "Volk, Leonard Wells", "Disp_Dimen" : "33 x 12 x 12 in. (83.8 x 30.5 x 30.5 cm)", "Disp_Height" : "33 in.", "Disp_Width" : "12 in.", "Dimen_Extent" : "maximum", "Medium" : "Bronze", "Support" : "", "Disp_Medium" : "Bronze", "Info_Page_Comm" : "Leonard Wells Volk made this statuette as a model for the over-nine-foot sculpture in his Rochester Soldiers’ and Sailors’ Monument in Washington Square Park. The artist described the sculpture as “heroic in size, some would say colossal.” Over 100,000 visitors attended the statue’s unveiling on Memorial Day, 1892, including luminaries Frederick Douglass and President Benjamin Harrison. [Gallery label text, 2012]", "Dedication" : "Maurice R. and Maxine B. Forman Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2008.29_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2008.29_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2008.29_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2008.29_A1.jpg", "IsPrimary" : "0", "_SurrogateID" : "27438", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2008.29_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2008.29_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2008.29_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2008.29_A2.jpg", "IsPrimary" : "0", "_SurrogateID" : "27439", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2008.29_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2008.29_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2008.29_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2008.29_A3.jpg", "IsPrimary" : "0", "_SurrogateID" : "27440", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2008.29_A4.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2008.29_A4.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2008.29_A4.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2008.29_A4.jpg", "IsPrimary" : "1", "_SurrogateID" : "28381", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "On disk 090113", "View" : "" } , ] },{ "embark_ID" : 3894, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3894", "Disp_Access_No" : "1998.37.1-2a-b", "_AccNumSort1" : "", "Disp_Create_DT" : "1886", "_Disp_Start_Dat" : "1886", "_Disp_End_Date" : "1886", "Disp_Title" : "Life Mask and Hands of Abraham Lincoln", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Leonard Wells Volk", "Sort_Artist" : "Volk, Leonard Wells", "Disp_Dimen" : "9 3/4 x 8 1/8 x 5 5/8 in. (24.8 x 20.6 x 14.3 cm)", "Disp_Height" : "9 3/4 in.", "Disp_Width" : "8 1/8 in.", "Dimen_Extent" : "Head", "Medium" : "Bronze", "Support" : "", "Disp_Medium" : "Bronze", "Info_Page_Comm" : "", "Dedication" : "Gift of Thomas H. and Marion J. Hawks, by exchange", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : ".1 - life mask .2a&b - hands", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/98.37.1-2a-b_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/98.37.1-2a-b_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/98.37.1-2a-b_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/98.37.1-2a-b_A1.jpg", "IsPrimary" : "0", "_SurrogateID" : "12541", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4133, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4133", "Disp_Access_No" : "1972.18", "_AccNumSort1" : "", "Disp_Create_DT" : "1891", "_Disp_Start_Dat" : "1891", "_Disp_End_Date" : "1891", "Disp_Title" : "Aurélien-Marie Lugné-Poë (1869-1940)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Edouard Vuillard", "Sort_Artist" : "Vuillard, Edouard", "Disp_Dimen" : "8 3/4 x 10 1/2 in. (22.2 x 26.7 cm)", "Disp_Height" : "8 3/4 in.", "Disp_Width" : "10 1/2 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "paper", "Disp_Medium" : "Oil on paper mounted on panel", "Info_Page_Comm" : "This likeness captures the intense fervor of the artist's friend and patron, Aurélien-Marie Lugné-Poë (1869-1940), an actor and daring theatrical producer who helped Vuillard obtain his first commission for a theatrical poster. The artist's use of broad areas of flat color to define form and volume in this intimate portrait is typical of the Nabis painters, a group of artists influenced by Paul Gauguin and with whom Vuillard was aligned. [Gallery label text, 1999]", "Dedication" : "Gift of Fletcher Steele", "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/72.18_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/72.18_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/72.18_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/72.18_A1.jpg", "IsPrimary" : "0", "_SurrogateID" : "12452", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/72.18_A4.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/72.18_A4.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/72.18_A4.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/72.18_A4.jpg", "IsPrimary" : "1", "_SurrogateID" : "39026", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Derived from 72.18_M1; no print level photography was made at the time this photo was made, so a new print image was derived from the _M1 and then a JPG from that TIF. 8/31/12 KS", "View" : "" } , ] },{ "embark_ID" : 4824, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4824", "Disp_Access_No" : "1968.61", "_AccNumSort1" : "", "Disp_Create_DT" : "between 1844 and 1865", "_Disp_Start_Dat" : "1844", "_Disp_End_Date" : "1865", "Disp_Title" : "The First Whisper of Love", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "George Frederick Watts", "Sort_Artist" : "Watts, George Frederick", "Disp_Dimen" : "16 1/2 x 13 1/2 in. (41.9 x 34.3 cm)", "Disp_Height" : "16 1/2 in.", "Disp_Width" : "13 1/2 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "panel", "Disp_Medium" : "Oil on panel", "Info_Page_Comm" : "As a young man, George Frederick Watts briefly studied at the Royal Academy, and he was a friend and peer of both academic and Pre-Raphaelite artists, but his brushwork was looser than that utilized by either of those schools, and his subject matter generally more mystical than literary or historical. Here, Cupid distracts a youth holding a bow by whispering in his ear. It was not uncommon for Watts to paint multiple versions of a composition, and this is one of four versions of this painting. As early as 1844, the artist gave sketches of the composition to a sweetheart, but the degree of finish to this canvas suggests a date later in his career. Watts was known to rework his paintings over a long period of time, so it may have been started in the 1840s and not considered finished for many years. An intriguing comparison is an 1865 portrait of the artist taken by famed Victorian photographer Julia Margaret Cameron: Whisper of the Muse depicts a similar scene, with a youthful muse providing inspiration to Watts, who poses as a musician. [Gallery label text, 2011]", "Dedication" : "Gift of Dr. Robert F. Metzdorf", "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/68.61_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/68.61_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/68.61_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/68.61_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "22377", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "On disk MAG v. 56", "View" : "" } , ] },{ "embark_ID" : 767, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/767", "Disp_Access_No" : "1964.59", "_AccNumSort1" : "", "Disp_Create_DT" : "1811", "_Disp_Start_Dat" : "1811", "_Disp_End_Date" : "1811", "Disp_Title" : "Study for "Christ Rejected"", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Benjamin West", "Sort_Artist" : "West, Benjamin", "Disp_Dimen" : "30 7/8 x 42 1/8 in. (78.4 x 107 cm)", "Disp_Height" : "30 7/8 in.", "Disp_Width" : "42 1/8 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "paper", "Disp_Medium" : "Oil on paper laid down on panel", "Info_Page_Comm" : "According to the Christian gospels, Jesus was brought before Caiaphus and his fellow high priests, who rejected Jesus and gave him to Pilate to be crucified. Even today, among contemporary clergy and theologians, there is debate about the historical circumstances of Christ's death. Benjamin West depicted the traditional narrative in a compressed manner, bringing together elements of the events that were to follow: the crucifix and the instruments of the passion lie in the foreground; Mary, the mother of Jesus, and Mary Magdalene anticipate Jesus' suffering with looks of sorrow and horror; Roman soldiers stand by with spears. The artist was born in pre-Revolutionary Philadelphia, studied in Italy, and settled permanently in England, where he became the second president of the Royal Academy of Arts. He became known for his dramatic historical and religious subjects. West taught the first generation of American artists, including Gilbert Stuart and Matthew Pratt. The finished version of Christ Rejected is monumental, at 16' x 23', and it hangs at the Pennsylvania Academy of the Fine Arts in Philadelphia. [Gallery label text, 2004] ", "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/64.59_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/64.59_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/64.59_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/64.59_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12423", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 773, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/773", "Disp_Access_No" : "1973.13", "_AccNumSort1" : "", "Disp_Create_DT" : "1859", "_Disp_Start_Dat" : "1859", "_Disp_End_Date" : "1859", "Disp_Title" : "View of the Pitkin House and East Avenue", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Charles Willson", "Sort_Artist" : "Willson, Charles", "Disp_Dimen" : "20 3/8 x 30 1/4 in. (51.8 x 76.8 cm)", "Disp_Height" : "20 3/8 in.", "Disp_Width" : "30 1/4 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "The building that currently is the Boy Scout headquarters – 474 East Avenue, near Prince Street – was formerly a private home. It was originally built for William Pitkin, a druggist who became banker, mayor of the city, and married Sophia Rochester, daughter of Rochester’s founder. After the Pitkins moved closer to downtown (legend says that Sophia missed living near her parents, who lived on Spring Street – East Avenue was considered out in the country in those days), the home became the residence of Daniel Powers, self-made millionaire. In 1906, a third story was added to the building. [Gallery label text, 2007] ", "Dedication" : "Gift of Maurice R. Forman", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Also known as the Gilman Perkins House", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/73.13_R1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/73.13_R1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/73.13_R1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/73.13_R1.jpg", "IsPrimary" : "0", "_SurrogateID" : "17282", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "contemporary photography of scene", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/73.13_R2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/73.13_R2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/73.13_R2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/73.13_R2.jpg", "IsPrimary" : "0", "_SurrogateID" : "17283", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "contemporary photography of scene", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/73.13_R3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/73.13_R3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/73.13_R3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/73.13_R3.jpg", "IsPrimary" : "0", "_SurrogateID" : "17284", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "contemporary photography of scene", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/73.13_R4.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/73.13_R4.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/73.13_R4.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/73.13_R4.jpg", "IsPrimary" : "0", "_SurrogateID" : "17285", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "contemporary photography of scene", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/73.13_R5.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/73.13_R5.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/73.13_R5.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/73.13_R5.jpg", "IsPrimary" : "0", "_SurrogateID" : "17287", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "contemporary photography of scene", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/73.13_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/73.13_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/73.13_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/73.13_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "20954", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 8191, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/8191", "Disp_Access_No" : "1971.25", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "The Yellow Sail (La Voile Jaune)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Felix Ziem", "Sort_Artist" : "Ziem, Felix", "Disp_Dimen" : "19 3/4 x 32 3/4 in. (50.2 x 83.2 cm)", "Disp_Height" : "19 3/4 in.", "Disp_Width" : "32 3/4 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Gift of Elizabeth Weis", "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/71.25_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/71.25_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/71.25_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/71.25_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "25731", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "On disk dated 2/18/08", "View" : "" } , ] }, ] }