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", "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" : 218, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/218", "Disp_Access_No" : "1974.4", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1880-1890", "_Disp_Start_Dat" : "1880", "_Disp_End_Date" : "1890", "Disp_Title" : "Afternoon Light", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Ralph Albert Blakelock", "Sort_Artist" : "Blakelock, Ralph Albert", "Disp_Dimen" : "16 1/8 x 24 1/16 in. (41 x 61.1 cm)", "Disp_Height" : "16 1/8 in.", "Disp_Width" : "24 1/16 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "This brooding, moody canvas was created by one of the most haunted souls in the history of American art. Ralph Blakelock, a man diagnosed as a paranoid schizophrenic and placed in a sanitarium for fifteen years, painted some of the most mysterious, expressive and poetic paintings in 19th century America. Indeed, his interest in and exploration of the unknown and the expressive were deeply admired by such radical 20th century abstract painters as Willem deKooning, Jackson Pollock and Franz Kline.... [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/74.4_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/74.4_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/74.4_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/74.4_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12462", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 5208, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5208", "Disp_Access_No" : "1954.12", "_AccNumSort1" : "", "Disp_Create_DT" : "1913", "_Disp_Start_Dat" : "1913", "_Disp_End_Date" : "1913", "Disp_Title" : "Still Life with Pipe (Nature morte à la Pipe)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Georges Braque", "Sort_Artist" : "Braque, Georges", "Disp_Dimen" : "16 x 13 in. (40.6 x 33 cm)", "Disp_Height" : "16 in.", "Disp_Width" : "13 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "French", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/54.12_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/54.12_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/54.12_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/54.12_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "38867", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Photographed in situ as installed; frame cropped out in Photoshop.", "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" : "View of Mt. Marseilleveyre and the Isle of Maire (L'Estaque)", "Alt_Title" : "", "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" : 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. 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[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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Cannot be converted to RGB for web use without considerable color adjustment.", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/94.40_R18.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/94.40_R18.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/94.40_R18.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/94.40_R18.jpg", "IsPrimary" : "0", "_SurrogateID" : "28051", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3887, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3887", "Disp_Access_No" : "1998.77", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1950", "_Disp_Start_Dat" : "1945", "_Disp_End_Date" : "1955", "Disp_Title" : "The Admiral's Game", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Joseph Cornell", "Sort_Artist" : "Cornell, Joseph", "Disp_Dimen" : "12 x 18 x 4 in. (30.5 x 45.7 x 10.2 cm)", "Disp_Height" : "12 in.", "Disp_Width" : "18 in.", "Dimen_Extent" : "overall", "Medium" : "Mixed media", "Support" : "", "Disp_Medium" : "Mixed media", "Info_Page_Comm" : "Romantic and enigmatic, Joseph Cornell’s boxes are filled with fragments of found materials. In The Admiral’s Game, the parallel rods that hold a pair of white balls might suggest a playful arcade game or the timeless and profound idea of an all-powerful creator setting the planets in motion. Cornell made his highly symbolic and mysterious creations at the home that he shared with his mother and brother in Queens, New York. While Cornell was reclusive and essentially an outsider in the art world, his work influenced many important American artists, including Robert Rauschenberg, Jasper Johns, Andy Warhol, and Marcel Duchamp. [Summer 2015]", "Dedication" : "Maurice R. and Maxine B. Forman Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/98.77_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/98.77_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/98.77_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/98.77_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "38880", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 333, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/333", "Disp_Access_No" : "1951.3", "_AccNumSort1" : "", "Disp_Create_DT" : "1931-1932", "_Disp_Start_Dat" : "1931", "_Disp_End_Date" : "1932", "Disp_Title" : "Landscape with Garage Lights", "Alt_Title" : "Garage Lights", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Stuart Davis", "Sort_Artist" : "Davis, Stuart", "Disp_Dimen" : "32 x 41 7/8 in. (81.3 x 106.4 cm)", "Disp_Height" : "32 in.", "Disp_Width" : "41 7/8 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Stuart Davis began as a student of the Urban Realist style, but upon seeing the many European modernist works on display at the New York Armory Show of 1913, the artist found his passion for abstraction. The influence of the broken-up and flattened surfaces of Cubism and the syncopated rhythms of American jazz contributed to Davis’ personal style. [Gallery label text, 2007] Gloucester, one of Massachusetts's oldest seaports, was a summer home for painter Stuart Davis from the time he was a young man of twenty-two. This view of the harbor clearly captivated him by the early 1930s, and preliminary studies of this painting reveal how carefully he considered the scene and translated it into paint, all the while deliberately conveying a sense of simplicity and speed in its execution. After a Parisian stay in the late 1920s, Davis returned to the United States with a new way of seeing things. The goal for him was to paint an expressive, abstracted version of the world around him, rather than a photographic simulacrum. As modernism challenged the nature of reality and how it is perceived, Davis reminds us here that it is possible to see two sides of a building at once, and that often it really looks like only half of a ship is in the water even though our brains convince us that the other half is hidden behind the fish warehouse. Flatness and simplification of forms were characteristics that distinguished work of influential European painters like Picasso and Matisse, whose work Davis would have encountered during his stay in France. [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" : "3088", "Rel_Obj_Title" : "Study for "Landscape with Garage Lights"" },{ "Rel_Obj_ID" : "3089", "Rel_Obj_Title" : "From Sketchbook 3, Drawing for "Landscape with Garage Lights"" } ], "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/51.3_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.3_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.3_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/51.3_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12383", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/51.3_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.3_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.3_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/51.3_A2.jpg", "IsPrimary" : "0", "_SurrogateID" : "53893", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Rescanned transparency at larger size for reproduction. New JPG derived from that larger TIF.", "View" : "" } , ] },{ "embark_ID" : 4135, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4135", "Disp_Access_No" : "1949.63", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1645", "_Disp_Start_Dat" : "1640", "_Disp_End_Date" : "1650", "Disp_Title" : "Still Life", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Jan Davidsz. de Heem", "Sort_Artist" : "Heem, Jan Davidsz. de", "Disp_Dimen" : "14 1/2 x 18 in. (36.8 x 45.7 cm)", "Disp_Height" : "14 1/2 in.", "Disp_Width" : "18 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "panel", "Disp_Medium" : "Oil on panel", "Info_Page_Comm" : "", "Dedication" : "Marion Stratton Gould Fund", "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/49.63_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/49.63_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/49.63_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/49.63_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12373", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 342, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/342", "Disp_Access_No" : "1987.62", "_AccNumSort1" : "", "Disp_Create_DT" : "1938", "_Disp_Start_Dat" : "1938", "_Disp_End_Date" : "1938", "Disp_Title" : "Snow on Quai", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Edwin Dickinson", "Sort_Artist" : "Dickinson, Edwin", "Disp_Dimen" : "21 x 18 in. (53.3 x 45.7 cm)", "Disp_Height" : "21 in.", "Disp_Width" : "18 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Gift of Nancy Turner in memory of Richard Turner", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/87.62_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/87.62_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/87.62_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/87.62_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12507", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 348, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/348", "Disp_Access_No" : "1951.4", "_AccNumSort1" : "", "Disp_Create_DT" : "1938", "_Disp_Start_Dat" : "1938", "_Disp_End_Date" : "1938", "Disp_Title" : "Cars in a Sleet Storm", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Arthur Dove", "Sort_Artist" : "Dove, Arthur", "Disp_Dimen" : "15 x 21 in. (38.1 x 53.3 cm)", "Disp_Height" : "15 in.", "Disp_Width" : "21 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Painted in Geneva, NY, Cars in a Sleet Storm is representative of Arthur Dove’s personalized abstract vocabulary with which he responded to the world around him. Dove, along with Georgia O’Keeffe and Marsden Hartley, were members of a group of modernist American artists championed by the photographer Alfred Stieglitz in his 291 Gallery in Manhattan. [Gallery label text, 2007] Arthur G. Dove was a native of Geneva, New York, about 46 miles from Rochester. Early on, rural New York State did not satisfy Dove's desire for a more engaged artistic life, and a few years after the turn of the 20th century, he moved to New York City and then to Paris. On his return to the United States in 1910, he began to paint abstract landscapes, and is considered one of America's first abstract painters. Dove's work was actively exhibited by photographer Alfred Stieglitz in his Gallery 291 and Intimate Gallery, major centers of avant-garde art in the United States. Stieglitz also showed the work of Georgia O'Keeffe whom he married in 1924. Cars in a Sleet Storm was painted at the end of Dove's years in Geneva, where he had returned to manage his father's estate. Dove's own words align him with the 20th century movement away from identifiable subject matter:"I would like to make something that is real in itself, that does not remind anyone of any other thing, and that does not have to be explained like the letter A, for instance." He also commented, "… I no longer observed in the old way, and not only began to think subjectively but also to remember certain sensations purely through their form and color, that is, by certain shapes, planes of light, or character lines determined by the meeting of such planes." [Gallery label text, 2006]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/51.4_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.4_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.4_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/51.4_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "25276", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Scanned from 1999 James Via transparency", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/51.4_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.4_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.4_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/51.4_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "41492", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Color-corrected and cropped from M1 file as no print master existed. JPG derived from new print master.", "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" : 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" : 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" : 6015, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6015", "Disp_Access_No" : "1951.203", "_AccNumSort1" : "", "Disp_Create_DT" : "1275 BCE-1225 BCE", "_Disp_Start_Dat" : "1275 BCE", "_Disp_End_Date" : "1225 BCE", "Disp_Title" : "Krater", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Mycenaean", "Sort_Artist" : "Unknown, Mycenaean", "Disp_Dimen" : "18 1/2 in. (47 cm)", "Disp_Height" : "18 1/2 in.", "Disp_Width" : "", "Dimen_Extent" : "", "Medium" : "Terracotta", "Support" : "", "Disp_Medium" : "Terracotta, paint", "Info_Page_Comm" : "A krater is a large, wide-mouthed jar, often used for mixing wine and water. These two kraters [51.203, 51.204] were found on Cyprus, an important island in the trade routes of the ancient Mediterranean and location of a significant Mycenaean colony. They likely served a funerary function, holding wine at the funeral feast, or containing the cremated remains of the deceased. The similar scenes on these two kraters represent the popular Mycenaean decorative motif of horse-drawn war chariots. The vase painter represented the two horses as a single body with two heads, two tails, and two pairs of forelegs and hind legs. 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Forman Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Basketry", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Top layer: Piece of Cake Middle layer: Missing the Boat Bottom layer: A Prize at a Price", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2000.13_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2000.13_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2000.13_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2000.13_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12341", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 7490, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7490", "Disp_Access_No" : "1931.2", "_AccNumSort1" : "", "Disp_Create_DT" : "7th century - early 8th century", "_Disp_Start_Dat" : "600", "_Disp_End_Date" : "732", "Disp_Title" : "Court Musicians from a Tomb", "Alt_Title" : "Musicians from a Royal Tomb at Shansi", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Chinese", "Sort_Artist" : "Unknown, Chinese", "Disp_Dimen" : "8 3/16 x 4 13/16 x 4 13/16 in. (20.8 x 12.2 x 12.2 cm)", "Disp_Height" : "8 3/16 in.", "Disp_Width" : "4 13/16 in.", "Dimen_Extent" : "", "Medium" : "Terracotta", "Support" : "", "Disp_Medium" : "Terracotta, polychromy", "Info_Page_Comm" : "", "Dedication" : "Gift of James Sibley Watson", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Ceramics", "Creation_Place2" : "Chinese", "Department" : "", "Obj_Name" : "", "Period" : "Tang Dynasty (618-907 CE)", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/31.2_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/31.2_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/31.2_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/31.2_A3.jpg", "IsPrimary" : "1", "_SurrogateID" : "34620", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1025, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1025", "Disp_Access_No" : "1960.2", "_AccNumSort1" : "", "Disp_Create_DT" : "1957", "_Disp_Start_Dat" : "1957", "_Disp_End_Date" : "1957", "Disp_Title" : "Calligraphics", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Isamu Noguchi", "Sort_Artist" : "Noguchi, Isamu", "Disp_Dimen" : "70 5/8 x 18 x 3 5/8 in. (179.4 x 45.7 x 9.2 cm)", "Disp_Height" : "70 5/8 in.", "Disp_Width" : "18 in.", "Dimen_Extent" : "overall", "Medium" : "Iron, wood and rope", "Support" : "", "Disp_Medium" : "Cast iron, wood and rope", "Info_Page_Comm" : "Isamu Noguchi’s father was a Japanese poet and his mother was an American writer. Although he was born in California and lived much of his life in the U.S., Noguchi’s travels reflected his own East-West duality. The artist spent his childhood traveling throughout Japan with his mother. As a young man he went to Paris to study with the abstract sculptor Constantin Brancusi. In China, he studied the ancient art of calligraphy. In the sleek, mid-century forms of Calligraphics, Noguchi combined his love of modern sculpture and calligraphy. The two shapes suggest abstract versions of Japanese characters: ni meaning “the sun” (like the red sun on the flag of Japan) and hon meaning “the origin” (perhaps his own). [Summer 2015]", "Dedication" : "R. T. Miller Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Chiyo Ueyama notes that the sculpture suggests abstracted versions of the characters for "nihon," the Japanese name for Japan: the two characters translate to "the sun" (ni) and "the origin" (hon).", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/60.2_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/60.2_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/60.2_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/60.2_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12408", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 5061, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5061", "Disp_Access_No" : "1977.103", "_AccNumSort1" : "", "Disp_Create_DT" : "1633-1637", "_Disp_Start_Dat" : "1633", "_Disp_End_Date" : "1637", "Disp_Title" : "Portrait of a Man Holding the Frontispiece to Dürer's "Small Passion"", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Pietro Paolini", "Sort_Artist" : "Paolini, Pietro", "Disp_Dimen" : "49 3/4 x 40 3/4 in. (126.4 x 103.5 cm)", "Disp_Height" : "49 3/4 in.", "Disp_Width" : "40 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" : "Italian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/77.103_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/77.103_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/77.103_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/77.103_A3.jpg", "IsPrimary" : "1", "_SurrogateID" : "38884", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Rescanned from TR1 to create a file of a size suitable for publication.", "View" : "" } , ] },{ "embark_ID" : 637, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/637", "Disp_Access_No" : "1986.132", "_AccNumSort1" : "", "Disp_Create_DT" : "1973", "_Disp_Start_Dat" : "1973", "_Disp_End_Date" : "1973", "Disp_Title" : "The Beginning of the Fields", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Fairfield Porter", "Sort_Artist" : "Porter, Fairfield", "Disp_Dimen" : "52 x 76 1/8 in. (132.1 x 193.4 cm)", "Disp_Height" : "52 in.", "Disp_Width" : "76 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" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/86.132_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/86.132_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/86.132_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/86.132_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12499", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 707, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/707", "Disp_Access_No" : "1941.33", "_AccNumSort1" : "", "Disp_Create_DT" : "1907", "_Disp_Start_Dat" : "1907", "_Disp_End_Date" : "1907", "Disp_Title" : "Election Night", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "John Sloan", "Sort_Artist" : "Sloan, John", "Disp_Dimen" : "26 3/8 x 32 1/4 in. (67 x 81.9 cm)", "Disp_Height" : "26 3/8 in.", "Disp_Width" : "32 1/4 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "This scene, nearly unintelligible in its crowding and confusion, is Sloan’s celebration of the furor of the city on election night. [Gallery label text, 2007] John Sloan met Robert Henri in Philadelphia, and from early on maintained a friendship and correspondence with him until Henri died in 1929. He moved to New York City at Henri’s urging. On November 5, 1907, he wrote: “Election Day… saw the noisy trumpet blowers, confetti throwers and the 'ticklers' in use - a small feather duster on a stick which is pushed in the face of each girl by the men, and in the face of men by the girls. A good humorous crowd, so dense in places that it was impossible to control one's movement.” The location, Herald Square at 34th and Broadway, was close by the New York Herald Building as well as Macy's. The elevated railroad tracks loomed overhead, increasing the suggestion of noise and activity in the scene. Sloan included Election Night as one of his entries in the 1908 exhibition at Macbeth Gallery. In his estimation, it was “…one of my best things. So that I felt happy in the evening, that good all over feeling that only comes from satisfaction in work - the real happiness, the joy of accomplishing or thinking that one has accomplished, which amounts to the same thing.” [Gallery label text, 2003]", "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/41.33_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/41.33_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/41.33_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/41.33_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12359", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Print Master derived from Digital Master for Seeing America Pachyderm project August 2008.", "View" : "" } , ] },{ "embark_ID" : 5136, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5136", "Disp_Access_No" : "1949.76", "_AccNumSort1" : "", "Disp_Create_DT" : "early 13th century", "_Disp_Start_Dat" : "1200", "_Disp_End_Date" : "1232", "Disp_Title" : "Console with Doubting Thomas", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, French", "Sort_Artist" : "Unknown, French", "Disp_Dimen" : "24 x 17 11/16 x 18 1/2 in. (61 x 45 x 47 cm)", "Disp_Height" : "24 in.", "Disp_Width" : "17 11/16 in.", "Dimen_Extent" : "overall", "Medium" : "Limestone", "Support" : "", "Disp_Medium" : "Limestone, polychromy", "Info_Page_Comm" : "This early Gothic console originally supported a vaulting rib in the sacristy of the small French church of St. Martin-de-Candes. The sculpture, which retains much of its original coloring, illustrates the story of Doubting Thomas, an episode described in the New Testament gospel book of John. The apostle Thomas refused to accept that Christ had appeared to his other followers after the Resurrection, saying “Unless I see the nail marks in his hands and put my finger where the nails were, and put my hand into his side, I will not believe it.” Christ appeared to them again one week later and told Thomas “Put your finger here; see my hands. Reach out your hand and put it into my side. Stop doubting and believe.” The sculptor has utilized the architectural form of the console to depict this story. On the left, Thomas, his head now broken, places his finger in Christ’s wound; Mary Magdalen, to whom Christ also appeared after the Resurrection, stands behind him. The apostle on the other side of Christ is Saint Peter, who holds the key to heaven. The remaining figures are apostles who serve as witnesses to the miracle. The figure of Christ originally carried a cross-staff, symbolizing his victory over death. [Gallery label text, June 2013]", "Dedication" : "R. T. Miller Fund", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "French", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "5/07: Examined by Joan Holladay and Susan Ward, of Census of Gothic Sculpture project, with Nancy Norwood: to be included in forthcoming volume of Census.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/49.76_A6.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/49.76_A6.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/49.76_A6.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/49.76_A6.jpg", "IsPrimary" : "1", "_SurrogateID" : "33546", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "See other views on disk: MAG 100301 #1 and 2", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/49.76_A7.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/49.76_A7.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/49.76_A7.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/49.76_A7.jpg", "IsPrimary" : "0", "_SurrogateID" : "33547", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "See other views on disk: MAG 100301 #1 and 2", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/49.76_A8.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/49.76_A8.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/49.76_A8.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/49.76_A8.jpg", "IsPrimary" : "0", "_SurrogateID" : "33548", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "See other views on disk: MAG 100301 #1 and 2", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/49.76_A9.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/49.76_A9.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/49.76_A9.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/49.76_A9.jpg", "IsPrimary" : "0", "_SurrogateID" : "33549", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "See other views on disk: MAG 100301 #1 and 2", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/49.76_A10.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/49.76_A10.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/49.76_A10.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/49.76_A10.jpg", "IsPrimary" : "0", "_SurrogateID" : "33550", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "See other views on disk: MAG 100301 #1 and 2", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/49.76_A11.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/49.76_A11.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/49.76_A11.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/49.76_A11.jpg", "IsPrimary" : "0", "_SurrogateID" : "33551", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "See other views on disk: MAG 100301 #1 and 2", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/49.76_A12.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/49.76_A12.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/49.76_A12.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/49.76_A12.jpg", "IsPrimary" : "0", "_SurrogateID" : "33552", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "See other views on disk: MAG 100301 #1 and 2", "View" : "" } , ] },{ "embark_ID" : 747, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/747", "Disp_Access_No" : "1916.9", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1900", "_Disp_Start_Dat" : "1895", "_Disp_End_Date" : "1905", "Disp_Title" : "The White Bridge", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "John Henry Twachtman", "Sort_Artist" : "Twachtman, John Henry", "Disp_Dimen" : "30 1/4 x 25 1/8 in. (76.8 x 63.8 cm)", "Disp_Height" : "30 1/4 in.", "Disp_Width" : "25 1/8 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Impressionism, a radically modern style upon its inception in France in the 1860s, came late to American shores. The Impressionist artist sought to capture impressions of light, color, and shape in a spontaneous way. [Gallery label text, 2007] John Twachtman’s finest paintings were inspired by the beauty of the land on which he lived with his family. Located in Greenwich, Connecticut, the picturesque property included a portion of Horseneck Brook, across which Twachtman built an ornamental but functional footbridge. Here, his children swam in the summer and rowed their boat beneath the bridge’s arched deck. The bridge may have been inspired by similar structures in Venice, where the artist lived in the 1880s and 90s. Twachtman was one of America’s premier impressionist painters and a founding member of the Ten American Painters, a group that included Thomas Dewing and William Merritt Chase, artists whose works are also on view at MAG. The White Bridge’s bright colors, energetic brushwork, and light-filled canvas link Twachtman’s work with that of French impressionist Claude Monet. [Gallery label text, 2004]", "Dedication" : "Gift of Emily Sibley Watson", "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/16.9_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/16.9_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/16.9_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/16.9_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12337", "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" : "" } , ] },{ "embark_ID" : 4176, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4176", "Disp_Access_No" : "1999.57", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 300 BCE", "_Disp_Start_Dat" : "305 BCE", "_Disp_End_Date" : "295 BCE", "Disp_Title" : "Wreath of Oak Leaves", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Greek", "Sort_Artist" : "Unknown, Greek", "Disp_Dimen" : "7 1/16 x 7 1/16 x 2 3/8 in. (18 x 18 x 6 cm)", "Disp_Height" : "7 1/16 in.", "Disp_Width" : "7 1/16 in.", "Dimen_Extent" : "maximum", "Medium" : "Gold", "Support" : "resin", "Disp_Medium" : "Gold on resin", "Info_Page_Comm" : "In ancient Greece, gold wreaths were permanent and luxurious facsimiles of natural wreaths made of oak, myrtle and laurel leaves. Both gold and natural wreaths were an important aspect of ceremonial and religious life. They were often given as awards for victory in battle, public service, and excellence in athletics and the arts. Gold wreaths were also used as votive offerings to the gods and included in funerary rites as symbols of the deceased’s victories in life. Oak in particular was sacred to Zeus, king of the Olympian gods, who spoke to his priests through the rustle of oak leaves. Greek gold wreaths were made from a thinly hammered sheet of gold that was formed into a narrow tube over a core of pitch or resin. The tube was ornamented with leaves, also cut from gold sheet; these leaves were attached by stems that were either wrapped around or inserted into holes in the tube. Surface details were created with a variety of tools and punches. [Gallery label text] ", "Dedication" : "Gift of Dr. Robert L. Berg", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Metalwork", "Creation_Place2" : "Greek", "Department" : "", "Obj_Name" : "", "Period" : "Hellenistic Period (323-90 BCE)", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/99.57_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/99.57_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/99.57_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/99.57_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12704", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] }, ] }