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(22.9 x 15.2 cm)", "Disp_Height" : "9 in.", "Disp_Width" : "6 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "Part of a series of 12 views of New York, published by The Society of Iconophiles, New York, 1905.", "Dedication" : "Bequest of Edith Holden Babcock", "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/47.75.12_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/47.75.12_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/47.75.12_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/47.75.12_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "14580", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3555, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3555", "Disp_Access_No" : "1958.66", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "New York", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Ludwig Bemelmans", "Sort_Artist" : "Bemelmans, Ludwig", "Disp_Dimen" : " ()", "Disp_Height" : "", "Disp_Width" : "", "Dimen_Extent" : "", "Medium" : "Watercolor", "Support" : "paper", "Disp_Medium" : "Watercolor on paper", "Info_Page_Comm" : "The creator of the beloved Madeline stories had a sharp and satirical eye for the scenes that he found around him in his adopted city of New York. In addition to his children’s books, Bemelmans illustrated for the New Yorker, Vogue, and Holiday magazines. Currently, the curator is trying to determine if this artwork was designed for a New Yorker cover. Upscale New York restaurant were familiar territories for Bemelmans. At age 14, he was apprenticed to his uncle, a hotelier in the Tyrol. The young Bemelmans’ lack of success – and outright bad behavior – contributed to his emigration to America, where he sought his fortune as a waiter at the Ritz-Carlton hotel in New York City. After serving in World War I, he opened and decorated his own restaurant. When a friend in the publishing business suggested that he turn his whimsical paintings into stories, Bemelmans wrote his first children’s book – Hansi. In 1939, Madeline appeared. He went on to write for adults, and in 1941, wrote Hotel Splendide, a fictional account of a grand hotel with an elegant, but problem-ridden restaurant. Bemelmans is buried at Arlington National Cemetery. His public work survives in the 1947 mural commission for the Hotel Carlyle on Madison Avenue – in what is now called Bemelmans Bar. [Label text, 2003]", "Dedication" : "Anonymous gift", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Watercolor", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/58.66_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/58.66_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/58.66_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/58.66_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "17031", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2049, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2049", "Disp_Access_No" : "1975.245", "_AccNumSort1" : "", "Disp_Create_DT" : "1921", "_Disp_Start_Dat" : "1921", "_Disp_End_Date" : "1921", "Disp_Title" : "Downtown, New York", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "John Marin", "Sort_Artist" : "Marin, John", "Disp_Dimen" : "6 3/4 x 8 3/4 in. (17.1 x 22.2 cm)", "Disp_Height" : "6 3/4 in.", "Disp_Width" : "8 3/4 in.", "Dimen_Extent" : "", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Etching", "Info_Page_Comm" : "In John Marin’s <em>Downtown, New York</em>, the viewer experiences the dizzying, disorienting sensation of looking up at the buildings while walking on a city street. Marin’s urban vision was one of energy, force, and fragmentation. He sought to capture the frenetic pace of the modern urban experience and the power of skyscrapers as though they themselves were active players in the city’s vitality, as “warring, pushing, pulling forces.” The slashing diagonal form is the elevated railroad that dominated the New York City landscape starting in the 1870s. [label text for <em>Modern Icon: The Machine As Subject in American Art</em> exhibition, February 3 – March 6, 2012] ", "Dedication" : "The Charles Rand Penney Collection of the Memorial Art Gallery", "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/75.245_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.245_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.245_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.245_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "37623", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1710, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1710", "Disp_Access_No" : "1975.327.10", "_AccNumSort1" : "", "Disp_Create_DT" : "1965", "_Disp_Start_Dat" : "1965", "_Disp_End_Date" : "1965", "Disp_Title" : "Market on 38th Street", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "William Gropper", "Sort_Artist" : "Gropper, William", "Disp_Dimen" : "11 1/4 x 15 1/2 in. (28.6 x 39.4 cm)", "Disp_Height" : "11 1/4 in.", "Disp_Width" : "15 1/2 in.", "Dimen_Extent" : "", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Etching", "Info_Page_Comm" : "As a lifelong supporter of the organized labor movement, William Gropper sensitively depicted many New Yorkers at work in tough circumstances, including in the sweat shops of the Garment District (now called the Fashion Center). After turning to etching in his late sixties, Gropper created this image of laborers pushing empty racks and pulling loaded carts on 38th St. in the busy and chaotic District. His signature caricature style is a continuation of his early political cartooning in Die Freiheit, a Yiddish newspaper printed by the Jewish Federation of the Worker’s Party. [Label text, 2003]", "Dedication" : "The Charles Rand Penney Collection of the Memorial Art Gallery", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Information about this print edition can be found in Art for Every Home: An Illustrated Index of Associated American Artists Prints, Ceramics, and Textile Designs, at http://hdl.handle.net/2097/19686, p. 175, no.1592", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.327.10_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.327.10_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.327.10_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.327.10_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "17037", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3543, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3543", "Disp_Access_No" : "1977.152.139", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1975", "_Disp_Start_Dat" : "1970", "_Disp_End_Date" : "1980", "Disp_Title" : "Trinity Church and World Trade Center, New York", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Ralph Avery", "Sort_Artist" : "Avery, Ralph", "Disp_Dimen" : "13 1/2 x 10 1/2 in. (34.3 x 26.7 cm)", "Disp_Height" : "13 1/2 in.", "Disp_Width" : "10 1/2 in.", "Dimen_Extent" : "", "Medium" : "Watercolor", "Support" : "board", "Disp_Medium" : "Watercolor and gouache with graphite on board", "Info_Page_Comm" : "Rochester artist Ralph Avery juxtaposed the World Trade Center with Trinity Church in a colorful scene painted shortly after the towers were completed in 1973. In reality, the church, a symbol of old New York (it was founded in 1696), is dwarfed by neighboring skyscrapers, but from Avery’s vantage point, the cross-topped steeple competes with the surrounding buildings for the highest point in the scene. Perhaps Avery was inserting his own point of view about the competing roles of God and Mammon in that Wall Street neighborhood. As an illustrator for magazines that were bastions of middle-class, conservative values – Saturday Evening Post and Reader’s Digest — Avery may have been expressing the publisher’s values as well. [Label text, 2003]", "Dedication" : "Gift of the Estate of Ralph Avery", "Copyright_Type" : "Copyright Assigned to MAG", "Disp_Obj_Type" : "Watercolor", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/77.152.139_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/77.152.139_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/77.152.139_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/77.152.139_A3.jpg", "IsPrimary" : "1", "_SurrogateID" : "44254", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3546, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3546", "Disp_Access_No" : "1977.152.165", "_AccNumSort1" : "", "Disp_Create_DT" : "20th Century", "_Disp_Start_Dat" : "1900", "_Disp_End_Date" : "1999", "Disp_Title" : "Brooklyn Bridge, New York", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Ralph Avery", "Sort_Artist" : "Avery, Ralph", "Disp_Dimen" : "7 7/16 x 11 in. (18.9 x 28 cm)", "Disp_Height" : "7 7/16 in.", "Disp_Width" : "11 in.", "Dimen_Extent" : "sheet", "Medium" : "Watercolor", "Support" : "paper", "Disp_Medium" : "Watercolor and gouache on paper", "Info_Page_Comm" : "", "Dedication" : "Gift of the Estate of Ralph Avery", "Copyright_Type" : "Copyright Assigned to MAG", "Disp_Obj_Type" : "Watercolor", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/77.152.165_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/77.152.165_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/77.152.165_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/77.152.165_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "28507", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1293, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1293", "Disp_Access_No" : "1983.134.19", "_AccNumSort1" : "", "Disp_Create_DT" : "1936", "_Disp_Start_Dat" : "1936", "_Disp_End_Date" : "1936", "Disp_Title" : "East River near the Queensborough Bridge", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Hugh Botts", "Sort_Artist" : "Botts, Hugh", "Disp_Dimen" : "10 1/4 x 8 1/2 in. (26 x 21.6 cm)", "Disp_Height" : "10 1/4 in.", "Disp_Width" : "8 1/2 in.", "Dimen_Extent" : "", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Etching", "Info_Page_Comm" : "The rivers surrounding Manhattan have always attracted swimmers brave – or foolish – enough to endure pollutants and random bits of garbage floating nearby. Fortunately, the quality of New York waterways is currently improving, and sights like the one may be more common in the future. Looming above the swimmers and boaters enjoying the East River is the Queensborough Bridge, also known as the 59th Street Bridge, made famous by Simon and Garfunkel’s album and song (Feeling Groovy). One of the many bridges that have been artists’ favorites, the Queensborough Bridge connects Manhattan and Queens. Over a mile long, it was opened to traffic in 1909. The spires that were part of the original design, and that can be seen in this print, were removed in the 1950s because of their deteriorating condition. [Label text, 2003]", "Dedication" : "Gift of Robert W. Brown", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "The East River Bridge at 59th Street", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/83.134.19_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/83.134.19_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/83.134.19_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/83.134.19_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "25057", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1295, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1295", "Disp_Access_No" : "1983.134.21", "_AccNumSort1" : "", "Disp_Create_DT" : "20th Century", "_Disp_Start_Dat" : "1900", "_Disp_End_Date" : "1999", "Disp_Title" : "Central Park Lake", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Hugh Botts", "Sort_Artist" : "Botts, Hugh", "Disp_Dimen" : "6 1/4 x 11 3/4 in. (15.9 x 29.8 cm)", "Disp_Height" : "6 1/4 in.", "Disp_Width" : "11 3/4 in.", "Dimen_Extent" : "", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Aquatint", "Info_Page_Comm" : "", "Dedication" : "Gift of Robert W. Brown", "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/83.134.21_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/83.134.21_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/83.134.21_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/83.134.21_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "26163", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1312, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1312", "Disp_Access_No" : "1983.134.44", "_AccNumSort1" : "", "Disp_Create_DT" : "1939", "_Disp_Start_Dat" : "1939", "_Disp_End_Date" : "1939", "Disp_Title" : "Washington Square South", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Hugh Botts", "Sort_Artist" : "Botts, Hugh", "Disp_Dimen" : "7 x 8 3/4 in. (17.8 x 22.2 cm)", "Disp_Height" : "7 in.", "Disp_Width" : "8 3/4 in.", "Dimen_Extent" : "", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Etching", "Info_Page_Comm" : "Out of necessity and solidarity artists banded together to survive the Great Depression by collective efforts to make, show, and sell their work. Hugh Botts’ keen sense of humor and ability to market his work is clear in Washington Square Park South. This display of eight of his prints tacked to a fence mimics how he probably displayed his work to sell at the Washington Square Outdoor Art Exhibit (established in 1931). This outdoor, public exhibition of art for sale, similar to the Memorial Art Gallery’s own annual Clothesline Arts Festival, is still in operation today in New York City. The prints depicted were among Bott’s most successful images; Columbus Circle was reprinted in the 1939 WPA guide to New York, Roosevelt Wing Museum was the feature of an article about the artist in Christian Science Monitor, and House Painter was a prizewinning print noted by the New York Times reviewer as characteristic of the artist’s wit. [Label text] Since 1931, artists have shown their works in an annual exhibition in Greenwich Village’s Washington Square. Launched during the Depression by Jackson Pollock, Alice Neel, and other artists seeking to have their work seen and purchased, the show became a popular (and inexpensive) way of gaining recognition. In this etching, Hugh Botts shows his own works on view in Washington Square. In characteristic fashion, the artist includes his whimsical touches – for example, a trompe l’oeil label with his name and date on it. Look closely, and you’ll find a miniature version of an etching in this exhibition. [Label text, 2003]", "Dedication" : "Gift of Robert W. Brown", "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/83.134.44_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/83.134.44_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/83.134.44_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/83.134.44_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "25068", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1314, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1314", "Disp_Access_No" : "1983.134.46", "_AccNumSort1" : "", "Disp_Create_DT" : "1938", "_Disp_Start_Dat" : "1938", "_Disp_End_Date" : "1938", "Disp_Title" : "Mid Manhattan Canyon", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Hugh Botts", "Sort_Artist" : "Botts, Hugh", "Disp_Dimen" : "12 15/16 x 17 7/8 in. (32.9 x 45.4 cm)", "Disp_Height" : "12 15/16 in.", "Disp_Width" : "17 7/8 in.", "Dimen_Extent" : "", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Aquatint and etching", "Info_Page_Comm" : "The New York skyline is a backdrop for the human drama that Botts saw all around him in New York City. [Label text, 2003]", "Dedication" : "Gift of Robert W. Brown", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Duplicate of 87.69", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/83.134.46_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/83.134.46_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/83.134.46_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/83.134.46_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "28697", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1614, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1614", "Disp_Access_No" : "1986.11", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1935-1939", "_Disp_Start_Dat" : "1935", "_Disp_End_Date" : "1939", "Disp_Title" : "East Side, Night", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Harold Faye", "Sort_Artist" : "Faye, Harold", "Disp_Dimen" : "11 3/8 x 15 7/8 in. (28.9 x 40.3 cm)", "Disp_Height" : "11 3/8 in.", "Disp_Width" : "15 7/8 in.", "Dimen_Extent" : "", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "During the many hours that Harold Faye spent exploring New York City and recording its dens and denizens, he created work that demonstrated ‘enthusiasm of place and period,’ in the words of one art historian. In East Side, Night, he emphasized the city’s hard metallic elements – the fire escape, the sturdy supports for the El, railings, cars, barrels – but tempered them with the softness of the lithographic crayon. Off and on during the Depression, Harold Faye found employment with the Graphic Division of the Federal Art Project of the Works Progress Administration. This government agency was set up as part of the New Deal to create jobs. Typically, artists submitted drawings to supervisors who would either approve them, in which case the artists would go ahead and print multiple copies, or the work would be disapproved and shelved or discarded. Nearly 4,000 artists were given work thanks to this program, including Jacob Lawrence, Mark Rothko, and Jackson Pollock. [Label text, 2003]", "Dedication" : "Gift of Helen S. Faye", "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/86.11_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/86.11_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/86.11_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/86.11_A1.jpg", "IsPrimary" : "0", "_SurrogateID" : "17044", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1265, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1265", "Disp_Access_No" : "1989.54", "_AccNumSort1" : "", "Disp_Create_DT" : "1929", "_Disp_Start_Dat" : "1929", "_Disp_End_Date" : "1929", "Disp_Title" : "New York from Weehawken", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Mortimer Borne", "Sort_Artist" : "Borne, Mortimer", "Disp_Dimen" : "6 15/16 x 10 in. (17.7 x 25.4 cm)", "Disp_Height" : "6 15/16 in.", "Disp_Width" : "10 in.", "Dimen_Extent" : "", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Drypoint", "Info_Page_Comm" : "", "Dedication" : "Gift of Jonathan and Marie Cockey", "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/89.54_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/89.54_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/89.54_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/89.54_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "17046", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 522, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/522", "Disp_Access_No" : "1991.5", "_AccNumSort1" : "", "Disp_Create_DT" : "1948", "_Disp_Start_Dat" : "1948", "_Disp_End_Date" : "1948", "Disp_Title" : "Summer Street Scene in Harlem", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Jacob Lawrence", "Sort_Artist" : "Lawrence, Jacob", "Disp_Dimen" : "20 1/16 x 24 1/8 in. (51 x 61.2 cm)", "Disp_Height" : "20 1/16 in.", "Disp_Width" : "24 1/8 in.", "Dimen_Extent" : "without frame", "Medium" : "Tempera", "Support" : "panel", "Disp_Medium" : "Tempera on gesso panel", "Info_Page_Comm" : "Jacob Lawrence chronicled the migration of African Americans from the South to the North in the first half of the 20th century. In Summer Street Scene in Harlem, Lawrence’s style incorporates the flattened surfaces, distorted shapes, and bold colors of modernism to capture the energy and vitality of life in Harlem, New York. [Gallery label text, 2007]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/91.5_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/91.5_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/91.5_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/91.5_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12514", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Print Master derived from Digital Master for Seeing America Pachyderm project August 2008. Needs curatorial approval for other uses.", "View" : "" } , ] },{ "embark_ID" : 5633, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5633", "Disp_Access_No" : "1992.30", "_AccNumSort1" : "", "Disp_Create_DT" : "1774", "_Disp_Start_Dat" : "1774", "_Disp_End_Date" : "1774", "Disp_Title" : "A View of New York from the North West", "Alt_Title" : "Wooded Heights View", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Joseph F.W. Des Barres", "Sort_Artist" : "Des Barres, Joseph F.W.", "Disp_Dimen" : "10 5/8 x 17 13/16 in. (27 x 45.3 cm)", "Disp_Height" : "10 5/8 in.", "Disp_Width" : "17 13/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Hand-colored aquatint", "Info_Page_Comm" : "A print from the first important marine atlas, American Neptune, presents a scene of British naval vessels sailing near rural Manhattan shores – ostensibly a peaceful and calm moment, but deceptively so, since it would only be a matter of months before resistance to British rule surfaced. The New York that we see through Des Barres’s eyes is over two centuries and a national history removed from Rhonda Schaller’s memento mori for the destruction of the World Trade Center, but contained in both works is the kernel of political struggle and tragic loss of life. [Label text, 2003]", "Dedication" : "Gift of Mr. and Mrs. John M. Topham", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Print", "Creation_Place2" : "British", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/92.30_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/92.30_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/92.30_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/92.30_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "30456", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2018, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2018", "Disp_Access_No" : "1992.51", "_AccNumSort1" : "", "Disp_Create_DT" : "1966", "_Disp_Start_Dat" : "1966", "_Disp_End_Date" : "1966", "Disp_Title" : "Lincoln Center (Poster)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Roy Lichtenstein", "Sort_Artist" : "Lichtenstein, Roy", "Disp_Dimen" : "45 x 29 5/8 in. (114.4 x 75.2 cm)", "Disp_Height" : "45 in.", "Disp_Width" : "29 5/8 in.", "Dimen_Extent" : "", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Offset color lithograph", "Info_Page_Comm" : "This Pop Art poster was created to advertise the fourth New York film festival at Lincoln Center in 1966. With primary colors and his signature Ben Day dots (used in commercial printing to produce halftones), Lichtenstein integrated bold elements to create an attention-getting image that would be visible on city streets. He was paid to design the poster by the Lincoln Center Poster Project, which was begun by New York philanthropist Vera List. In an interview in 1973, Mrs. List described her reason for creating the project: "I’ve always believed that one’s environment is what stimulates people. It’s what stimulated me as a child…you’d go to Paris and see all the exciting posters around there which were very colorful and stimulating…but you walk around New York, and you see the three-sheeter. So that gave birth to the idea of allocating a certain sum for posters. The idea was to commission the fine artist, the creative artist of the time…to bring to the general public –they walk down the street, they see an image, something would attract them, and something would happen…I always felt that if people’s sensibilities were awakened, they would seek to make the whole city a more amenable place in which to live. So that’s how that started." [Label text, 2003]", "Dedication" : "Anonymous gift", "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/92.51_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/92.51_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/92.51_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/92.51_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "17387", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 531, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/531", "Disp_Access_No" : "1953.1", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1916", "_Disp_Start_Dat" : "1911", "_Disp_End_Date" : "1921", "Disp_Title" : "Two Bridges, Washington and High, Harlem River, New York", "Alt_Title" : "Two Bridges, Washington and High, East River, New York (original title)", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Hayley Lever", "Sort_Artist" : "Lever, Hayley", "Disp_Dimen" : "13 x 16 in. (33 x 40.6 cm)", "Disp_Height" : "13 in.", "Disp_Width" : "16 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Bequest of Mrs. Charles Wright Dodge", "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/53.1_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/53.1_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/53.1_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/53.1_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "26205", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3946, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3946", "Disp_Access_No" : "1914.42.2", "_AccNumSort1" : "", "Disp_Create_DT" : "1912", "_Disp_Start_Dat" : "1912", "_Disp_End_Date" : "1912", "Disp_Title" : "East River, New York", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Walter Henry Cassebeer", "Sort_Artist" : "Cassebeer, Walter Henry", "Disp_Dimen" : "8 7/8 x 12 1/16 in. (22.6 x 30.6 cm)", "Disp_Height" : "8 7/8 in.", "Disp_Width" : "12 1/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Graphite", "Support" : "paper", "Disp_Medium" : "Graphite on paper", "Info_Page_Comm" : "", "Dedication" : "Gift of Hiram W. 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(30.6 x 22.6 cm)", "Disp_Height" : "12 1/16 in.", "Disp_Width" : "8 7/8 in.", "Dimen_Extent" : "sheet", "Medium" : "Graphite", "Support" : "paper", "Disp_Medium" : "Graphite on paper", "Info_Page_Comm" : "", "Dedication" : "Gift of Hiram W. Sibley", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Drawing", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/14.42.5_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/14.42.5_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/14.42.5_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/14.42.5_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "35422", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3950, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3950", "Disp_Access_No" : "1914.42.6", "_AccNumSort1" : "", "Disp_Create_DT" : "1913", "_Disp_Start_Dat" : "1913", "_Disp_End_Date" : "1913", "Disp_Title" : "East River, 58th Street", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Walter Henry Cassebeer", "Sort_Artist" : "Cassebeer, Walter Henry", "Disp_Dimen" : "8 15/16 x 12 1/16 in. 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