{ "objects" : [ { "embark_ID" : 1502, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1502", "Disp_Access_No" : "1983.9", "_AccNumSort1" : "", "Disp_Create_DT" : "1952", "_Disp_Start_Dat" : "1952", "_Disp_End_Date" : "1952", "Disp_Title" : "Third Avenue Elevated #4", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Ralston Crawford", "Sort_Artist" : "Crawford, Ralston", "Disp_Dimen" : "19 13/16 x 12 7/8 in. (50.3 x 32.7 cm)", "Disp_Height" : "19 13/16 in.", "Disp_Width" : "12 7/8 in.", "Dimen_Extent" : "", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Color Lithograph", "Info_Page_Comm" : "Ralston Crawford believed that the “emancipation of the times” would be attained through industrialization. His earlier Precisionist style and his ongoing preoccupation with industry, the machine, and speed can be seen in his painting <a href=”http://magart.rochester.edu/Obj296”><em>Whitestone Bridge</em></a>, 1939-40, in the Memorial Art Galley collection (accession number 51.2). By the time he created this print, <em>Third Avenue El #4</em>, Crawford’s style had become significantly more abstract. Here he captures the ubiquitous vertical steel pylons that support elevated train tracks throughout New York City neighborhoods. [label text for <em>Modern Icon: The Machine As Subject in American Art</em> exhibition, February 3 – March 6, 2012] ", "Dedication" : "Gift of Isabel C. Herdle in memory of Hilda Altschule Coates", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/83.9_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/83.9_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/83.9_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/83.9_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "37633", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 296, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/296", "Disp_Access_No" : "1951.2", "_AccNumSort1" : "", "Disp_Create_DT" : "1939-1940", "_Disp_Start_Dat" : "1939", "_Disp_End_Date" : "1940", "Disp_Title" : "Whitestone Bridge", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Ralston Crawford", "Sort_Artist" : "Crawford, Ralston", "Disp_Dimen" : "40 1/4 x 32 in. (102.2 x 81.3 cm)", "Disp_Height" : "40 1/4 in.", "Disp_Width" : "32 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Ralston Crawford’s strong linear style and simplified form and palette in Whitestone Bridge are representative of the modern Precisionist style. Precisionist artists celebrated industrialization and technology with a visual language that evoked the purity and perfection of the machine. [Gallery label text, 2007] The Whitestone Bridge, linking The Bronx and Queens, was opened in 1939 just in time for the New York World's Fair. The suspension bridge routed travelers coming to the Fair from Upstate and New England away from the congestion of New York City. At the same time, Crawford was moving away from painting traditional landscapes and searching for a vocabulary that was closer in spirit to the streamlined, industrial aesthetic that he was observing in the world around him. The Whitestone Bridge was an excellent match for his artistic aspirations. The sleek and futuristic lines of the Whitestone Bridge matched the Trylon and Perisphere logo of the World's Fair, which was intended to signify progress and the World of Tomorrow. By 1944, when this painting was acquired by the Encyclopedia Britannica Collection, the sleek and elegant Whitestone Bridge had become an icon of contemporary design. The curator traveled to New York City to determine whether the bridge really looks as though it extends back into space with no land visible on the other side. And, in fact, Crawford's thrilling vantage point can be experienced by taking the bus across the bridge - for a brief instant, the first-time crosser experiences the view that Crawford recorded: a slim line of road, held up by wires, sailing across the water with no end in sight. [Gallery label text, 2006]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Children" : [ { "Rel_Obj_ID" : "3071", "Rel_Obj_Title" : "Study for "Whitestone Bridge"" },{ "Rel_Obj_ID" : "3583", "Rel_Obj_Title" : "Study for "Whitestone Bridge"" },{ "Rel_Obj_ID" : "297", "Rel_Obj_Title" : "Study for Fortune Magazine" },{ "Rel_Obj_ID" : "298", "Rel_Obj_Title" : "Study for Fortune Magazine" },{ "Rel_Obj_ID" : "3367", "Rel_Obj_Title" : "Whitestone Bridge" } ], "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/51.2_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.2_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.2_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/51.2_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12382", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Print Master derived from Digital Master for Seeing America Pachyderm project August 2008. Image is 800ppi but only 2.5 x 3.5". Needs curatorial approval for other uses.", "View" : "" } , ] }, ] }