{ "objects" : [ { "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" : "" } , ] }, ] }