43
Exhibitions%20%3D%20%22445%22
Painting
Waterloo Bridge, Veiled Sun
Claude Monet, (Paris, 1840 – 1926, Giverny, France)
Monet, Claude
France
1840 - 1926
Male
25 1/2 x 39 1/4 in. (64.8 x 99.7 cm)
.
.
.
without frame
.
.
.
with frame
frame
Oil
Oil
1903
1903
1903
1900-2000, 20th century, bridges, cityscapes, Impressionism, London, England, paintings
Painting
Monet loved London for its fog. During his 1901 visit to the city, he attempted to capture the evanescent effects of its misty climate in a series of views of Waterloo Bridge under varying conditions. Each time the light and weather shifted, he began a new canvas or returned to the one that recorded that particular atmosphere. Monet did not complete the paintings in London. He perfected them in his studio in France over the next three years. Thus, this painting records not only the artist's immediate response to the scene, but also his memory of it.
[Gallery label text, 1999]
lower rightback of frameback of framestretcher, Presumably Durand-Ruel number?stretcher, Torn away at right edgestretcherstretcherstretcherback of canvas
1953.6
item
Memorial Art Gallery
4/5/2000
53.6TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.6TR2
transparency
8 x 10
00/00/00
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53.6SL1
slide
full
2 x 2
00/00/00
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negative
4x5
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glossy
8x10
00/00/00
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53.6DI1
digital image
Memorial Art Gallery
Imaging complete
6/26/2000
http://127.0.0.1:5000/Media/images/53.6_A1.jpg
53.6SL2
slide
full- with frame
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.6SL3
slide
detail of bridge
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.6DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Color separations
5 x 7
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.6DI#2
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/53.6_A2.jpg
53.6DI#3
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/53.6_A3.jpg
53.6DI#4
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/53.6_A4.jpg
53.6DI#5
digital image
6/20/2016
http://127.0.0.1:5000/Media/images/53.6_A5.jpg
Painting
The Stonebreaker
Gustave Courbet, (Ornans, France, 1819 – 1877, La Tour-de-Peilz, Switzerland)
Courbet, Gustave
France
1819 - 1877
Male
17 1/2 x 21 1/2 in. (44.5 x 54.6 cm)
.
.
.
without frame
.
.
.
overall framed size
frame
Oil
Oil
ca. 1872
1867
1877
1800-1900, 19th century, genre scenes, jobs & work, men, paintings
Painting
Painting is an essentially concrete art and can only consist in the representation of real and existing things.
- Gustave Courbet (1861)
Courbet was the leading painter of a movement called Realism. Many French citizens began to advocate for democratic and socialist reforms after the Revolution of 1848 overturned the monarchy of King Louis-Philippe. Realist painters depicted modern subjects drawn from the everyday lives of the working class.
The subject matter of The Stonebreaker is similar to that of Courbet’s The Stonebreakers, which Courbet exhibited at the Salon in 1850. The earlier painting, destroyed in World War II, depicted two men dressed in heavy, tattered clothing crushing rocks near a road. Because of its raw and, according to some viewers, politically motivated subject matter, The Stonebreakers was extremely controversial with the French public. The Gallery’s The Stonebreaker, painted over 20 years later, reflects a more intimate view of the laborer, solitary as he eats his midday meal.
lower rightback of frame, See photo under Marks-->Surrogatesback of frame, See photo under Marks-->Surrogatesback of stretcherback of stretcher, See photo under Marks-->Surrogatesback of stretcher, See photo under Marks-->Surrogatesback of stretcher, See photo under Marks-->Surrogatesback of stretcher, See photo under Marks-->Surrogatesback of stretcher, Circular stamp. Also stamped on back of canvas. See photo under Marks-->Surrogatesback of stretcher, Mostly illegible; under edge of paper tape. See photo under Marks-->Surrogatesback of stretcher, See photo under Marks-->Surrogates
1943.11
item
Memorial Art Gallery
4/5/2000
43.11TR1
Transparency
Memorial Art Gallery
4 x 5
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http://127.0.0.1:5000/Graphics/blank.gif
43.11SL1
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00/00/00
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43.11DI1
digital image
Memorial Art Gallery
Imaging complete
6/26/2000
http://127.0.0.1:5000/Media/images/43.11_A1.jpg
43.11SL2
slide
detail
2 x 2
00/00/00
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43.11DI2
digital image
TRC4
00/00/00
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Painting
Still Life
Jan Davidsz. de Heem, 1606 - ca. 1684
Heem, Jan Davidsz. de
Netherlands
1606 - ca. 1684
Male
14 1/2 x 18 in. (36.8 x 45.7 cm)
.
.
.
without frame
.
.
.
.
.
.
approximate installation dimensions
frame
Oil
Oil
ca. 1645
1640
1650
1600-1800, 17th century, fruit in art, paintings, still lifes
Painting
upper rightback of panelback of panel, Modern.
1949.63
item
Memorial Art Gallery
4/5/2000
49.63TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
49.63CPRT1
glossy
4.5 x 5.5
00/00/00
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49.63SL1
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full
2 x 2
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negative
4x5
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49.63DI1
digital image
Memorial Art Gallery
Imaging complete
6/26/2000
http://127.0.0.1:5000/Media/images/49.63_A1.jpg
negative
color
1 x 1
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49.63SL2
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detail-oyster
2 x 2
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49.63SL3
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detail- orange
2 x 2
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49.63SL4
slide
detail- lemon in glass
2 x 2
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49.63SL5
slide
before conservation
2 x 2
00/00/00
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49.63DI2
digital image
Memorial Art Gallery
Imaging complete
00/00/00
http://127.0.0.1:5000/Media/images/49.63_A2.jpg
49.63DI3
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
49.63DI#3
digital image
Detail
6/10/2009
http://127.0.0.1:5000/Media/images/49.63_A3.jpg
49.63DI#4
digital image
Detail
6/10/2009
http://127.0.0.1:5000/Media/images/49.63_A4.jpg
49.63DI#5
digital image
Detail
6/10/2009
http://127.0.0.1:5000/Media/images/49.63_A5.jpg
x-ray
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
49.63DI6
digital image
Back of panel
7/10/2007
http://127.0.0.1:5000/Media/images/Inventory pictures/49.63_I4.JPG
Painting
Charles 1er de Cossé, Comte de Brissac
Corneille de Lyon, (The Hague, Netherlands, ca. 1500 - 1575, Lyon, France)
Corneille de Lyon
Netherlands
ca. 1500 - 1575
Male
6 1/4 x 5 in. (15.9 x 12.7 cm)
.
.
.
.
.
.
approximate installation dimensions
frame
Oil
Oil
ca. 1530
1525
1535
1400-1600, men, paintings, portraits, Renaissance & Baroque
Painting
back of frame, Printed and handwritten. Modern label.back of frameback of frameback of frameback of frameback of frame
1947.1
item
Memorial Art Gallery
5/23/2000
47.1SL1
slide
full w frame
2 x 2
00/00/00
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4x5
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neg
8x10
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neg
5x7
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
47.1DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/47.1_A1.jpg
47.1DI#2
digital image
6/22/2010
http://127.0.0.1:5000/Media/images/47.1_A2.jpg
47.1DI#3
digital image
8/17/2010
http://127.0.0.1:5000/Media/images/Inventory pictures/47.1_I1.JPG
Painting
Madonna and Child
Francesco Benaglio, (ca. 1432 - ca. 1492, Verona, Italy)
Benaglio, Francesco
Italy
ca. 1432 - ca. 1492
Male
26 5/16 x 16 5/16 in. (66.9 x 41.5 cm)
.
.
.
overall
overall
Oil
Oil
probably 1465-1472
1465
1472
1400-1600, Madonna and Child, paintings, Renaissance & Baroque
Painting
lower right, on column, See image: 64.21_A6back of panelside of frame
1964.21
item
Memorial Art Gallery
5/25/2000
64.21SL1
slide
full
2 x 2
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glossy
full
8 x 10
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negative
full
4 x 5
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64.21D1
digital image
full
2 x 2
6/14/2002
http://127.0.0.1:5000/Media/images/64.21_A1.jpg
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
64.21DI2
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/64.21_A2.jpg
64.21SL2
slide
with perspective lines
2 x 2
00/00/00
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digital image
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/64.21_I1.jpg
63.21DI3
digital image
00/00/00
http://127.0.0.1:5000/Media/images/64.21_A3.jpg
64.21DI4
digital image
00/00/00
http://127.0.0.1:5000/Media/images/179_Through_the_Looking_Glass/Untitled-52.jpg
64.21DI#6
digital image
Detail
6/22/2010
http://127.0.0.1:5000/Media/images/64.21_A5.jpg
64.21DI#5
digital image
6/22/2010
http://127.0.0.1:5000/Media/images/64.21_A4.jpg
64.21DI#7
digital image
Detail
6/22/2010
http://127.0.0.1:5000/Media/images/64.21_A6.jpg
Painting
Madonna and Child with Angel
Raffaellino del Garbo, (1466 - 1524)
Raffaellino del Garbo
Italy
1466 - 1524
Male
37 1/4 x 37 1/4 in. (94.6 x 94.6 cm)
.
.
.
diameter
Tempera
Tempera
Italian; made in Florence
ca. 1500
1495
1505
1400-1600, angels, Madonna and Child, paintings, Renaissance & Baroque, women
Painting
1947.30
item
Memorial Art Gallery
6/9/2000
separations
8 x 10
00/00/00
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47.30TR1
transparency
4 x 5
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detail-central group
2 x 2
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47.30SL3
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detail-Madonna/Child
2 x 2
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47.30SL4
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detail-Angel
2 x 2
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47.30SL5
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detail-Angel's hands
2 x 2
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47.30SL6
slide
detail-Angel's eye
2 x 2
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47.30DI1
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/47.30_A1.jpg
47.30DI#2
digital image
4/7/2009
http://127.0.0.1:5000/Media/images/47.30_A2.jpg
47.30DI#3
digital image
Detail
6/10/2009
http://127.0.0.1:5000/Media/images/47.30_A3.jpg
46.36DI#4
digital image
Detail
6/10/2009
http://127.0.0.1:5000/Media/images/47.30_A4.jpg
46.36DI#5
digital image
Detail
6/10/2009
http://127.0.0.1:5000/Media/images/47.30_A5.jpg
x-ray
00/00/00
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Painting
The Apparition of the Virgin to St. Hyacinth
Domenikos Theotocopoulos, ca. 1541 - 1614
Theotocopoulos, Domenikos
Spain
ca. 1541 - 1614
Male
39 3/8 x 24 3/8 in. (100 x 61.9 cm)
.
.
.
Oil
Oil
ca. 1605 - 1610
1605
1610
1600-1800, 17th century, paintings, St. Hyacinth
Painting
In this painting, El Greco expresses spiritual drama by his distinctive use of line, light and color. St. Hyacinth kneels in awed wonder before a mystical vision of the Virgin and Child. The scene takes place in a church interior with pillars and a patterned floor; a shadowy, monochrome figure or statue of a bishop, identifiable by his hooked staff, stands behind the enraptured saint.
According to Christian legend, Hyacinth, a Polish Dominican priest who lived from 1185-1287, witnessed a miraculous apparition of the Virgin Mary on the feast day of her Assumption—the day she was “taken up body and soul into heavenly glory.” In 1594, shortly before El Greco painted this work, Hyacinth was granted sainthood by Pope Clement VIII.
El Greco (“The Greek”) is the popular name of Domenikos Theotokopoulos, an artist born in Crete but who lived and studied in Venice and Rome. In 1575, he moved to Toledo, Spain, the center of the Catholic Church’s Counter-Reformation activities. During his career, El Greco developed a unique and dramatically spiritual style of painting that is often considered the forerunner of Baroque art.
1938.28
item
Memorial Art Gallery
6/9/2000
38.28TR1
transparency
4 x 5
00/00/00
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38.28SL1
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2 x 2
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detail- Chirst
2 x 2
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38.28SL3
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detail- St.'s hand
2 x 2
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38.28SL4
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detail- St.'s head
2 x 2
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38.28SL5
slide
detail- St.'s garment
2 x 2
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38.28DI1
digital image
6/28/2002
http://127.0.0.1:5000/Media/images/38.28_A1.jpg
38.28SL6
slide
detail- bkgr. figure
2 x 2
00/00/00
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38.28SL7
slide
detail- Virgin
2 x 2
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38.28DI2
digital image
00/00/00
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38.28DI3
digital image
00/00/00
http://127.0.0.1:5000/Media/images/38.28_A2.jpg
38.28_A3.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/38.28_A3.jpg
38.28DI5
digital image
with frame
00/00/00
http://127.0.0.1:5000/Media/images/38.28_A4.jpg
38.28DI5
digital image
with frame
00/00/00
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38.28DI5
digital image
Detail Virgin and Child
00/00/00
http://127.0.0.1:5000/Media/images/38.28_A5.jpg
38.28DI6
digital image
Detail Child
00/00/00
http://127.0.0.1:5000/Media/images/38.28_A6.jpg
38.28DI6
digital image
Detail background apparition
00/00/00
http://127.0.0.1:5000/Media/images/38.28_A7.jpg
38.28DI5
digital image
Detail At. Hyacinth
00/00/00
http://127.0.0.1:5000/Media/images/38.28_A8.jpg
38.28DI5
digital image
Detail St. Hyacinth's hand
00/00/00
http://127.0.0.1:5000/Media/images/38.28_A9.jpg
00/00/00
http://127.0.0.1:5000/Media/images/surrogates/pdf/38.28_R1.pdf
x-ray
00/00/00
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Painting
View of Dedham
John Constable, (East Bergholt, England, 1776 - 1837, Suffolk, England)
Constable, John
England
1776 - 1837
Male
9 1/2 x 12 1/8 in. (24.1 x 30.8 cm)
.
.
.
approximate installation dimensions
frame
Oil
Oil
1830
1830
1830
19th century, European art, landscape, rivers
Painting
lower left, See correspondence in curatorial file that suggests this inscription is not in the artist's hand.back of stretcher or frame?back of stretcher or frame?, red seal
1950.36
item
Memorial Art Gallery
11/2/2000
50.36SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
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negative
2 x 2
00/00/00
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50.36DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/50.36_A1.jpg
Drawing
Dancers
Edgar Degas, 1834 - 1917
Degas, Edgar
France
1834 - 1917
Male
37 5/8 x 26 3/4 in. (95.6 x 67.9 cm)
.
.
.
overall
frame
.
.
.
Pastel
Pastel
ca. 1900
1895
1905
1900-2000, 20th century, dance, drawing, women
Drawing
When asked by Mrs. Horace Havemeyer, an American collector, why he so often portrayed dancers, Degas replied “Because I find there, Madame, the combined movements of the Greeks.”
This pastel was produced late in the artist’s life when his eyesight had begun to fail. It is possible that his diminished vision resulted in the heavy contours that surround the dancers and give only the barest suggestion of their facial features. Rather than attempting great detail, he concentrated on mapping out the unpredictable effects of theatrical lighting on the forms of the figures.
[Label text from It Came From the Vault exhibition, 2013]
back of frame, From Cleveland Degas exhibition, Feb 7 - Mar 9 1947back of framelower leftback of panelback of panelback of panelback of panelback of panel, Label for AFA Degas and the Dance exhibitionback of panel, Label for National Gallery of Art Degas exhibition
1931.21
item
Memorial Art Gallery
1/17/2001
color separations
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
31.21TR1
transparency
4 x 5
00/00/00
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31.21SL1
slide
full
2 x 2
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negative
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slide
detail
2x2
00/00/00
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31.21DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/31.21_A1.jpg
31.21DI#2
digital image
6/4/2012
http://127.0.0.1:5000/Media/images/31.21_A2.jpg
Painting
The Rocks at Pourville, Low Tide
Claude Monet, (Paris, 1840 – 1926, Giverny, France)
Monet, Claude
France
1840 - 1926
Male
25 5/16 x 31 in. (64.3 x 78.7 cm)
.
.
.
.
.
.
overall
horizontal
frame
Oil
Oil
1882
1882
1882
1800-1900, 19th century, paintings, seascapes, waves
Painting
This painting belongs to a series of works produced during the spring and summer of 1882, while Monet visited Pourville, a town on the Normandy coast. As he explored the beach and the rocks exposed at low tide, Monet found a startling diversity of viewpoints that enabled him to create some of his most dramatic and unexpected compositions. In all of them, Monet placed himself far out across the beach, a little to the east of Pourville. He juxtaposed the cliffs in the far distance with the fragmented forms of the rock shelves in the foreground, using unique brushstrokes to convey the movement and light of the water and clouds.
Monet’s technique gradually changed from completing paintings out of doors to one of making hundreds of concentrated studies on location. He then compiled and reworked these many sketches in his studio, where he created the final canvases.
[Label copy from Monet: Vision and Process exhibition, 2018]
1939.22
item
Memorial Art Gallery
1/17/2001
39.22TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
39.22SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
6x4
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
39.22SL2
slide
photo of location of painting
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
39.22DI1
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/39.22_A1.jpg
39.22DI2
digital image
full
8/3/2015
http://127.0.0.1:5000/Media/images/39.22_A2.jpg
Painting
The Exorcism of the Waves
Alessandro Magnasco, 1662 - 1749
Magnasco, Alessandro
Italy
1662 - 1749
Male
33 x 51 in. (83.8 x 129.5 cm)
.
.
.
Oil
Oil
after 1735
1736
1745
1600-1800, 18th century, paintings, seascapes, waves
Painting
removed from backing, now in fileremoved from backing, now in fileremoved from backing, now in fileremoved from backing, now in file
1952.2
item
Memorial Art Gallery
1/25/2001
52.2SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
7x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
52.2SL2
slide
detail-figure
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
52.2SL3
slide
detail- tower
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/52.2_A1.jpg
52.2TR1
transparency
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
52.2DI2
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/52.2_A2.jpg
52.2DI3
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/52.2_A3.jpg
Painting
Madonna and Child Enthroned with Angels
Master of the St. Ursula Legend, (active 1470 - 1495)
Master of the St. Ursula Legend
Flanders
active 1470 - 1495
Male
24 1/4 x 13 1/2 in. (61.6 x 34.3 cm)
.
.
.
Oil
Oil
ca. 1470-1495
1470
1495
1400-1600, Adam & Eve, angels, Christ, John the Baptist, Madonna and Child, paintings, Renaissance & Baroque, St. Elizabeth, women
Painting
back of frameback of frame, Obscured by mending plate
1948.11
item
Memorial Art Gallery
1/19/2001
separations
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
48.11TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
48.11SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
5x7
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
48.11SL2
slide
detail-angel & castle
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
48.11SL3
slide
detail- walled town
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
48.11DI1
digital image
6/28/2002
http://127.0.0.1:5000/Media/images/48.11_A1.jpg
48.11DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
48.11DI3
digital image
00/00/00
http://127.0.0.1:5000/Media/images/48.11_A2.jpg
48.11
Madonna and Child Enthroned with Angels
pdf file
00/00/00
http://127.0.0.1:5000/Media/images/C/Users/Public/Desktop/My Scans/scan0883.pdf
Painting
Venus and Cupid
Attributed to or after François Boucher, 1703 - 1770
Boucher, François
France
1703 - 1770
Male
15 7/8 x 12 5/8 in. (40.3 x 32.1 cm)
.
.
.
Oil
Oil
ca. 1732
1727
1737
1600-1800, 18th century, Cupid, flowers in art, paintings, Venus
Painting
Rococo, from the French word rocaille (rockwork or shell), was an 18th century decorative style that reacted against the classical tradition of the Academy and instead stressed color, light, movement, and a frank pleasure in living. The easy flowing brushwork and the luminous colors show the influence of Rubens.
As a rococo painter, François Boucher worked primarily in the service of Madame de Pompadour, mistress to Louis XV. His paintings satisfied the taste of a sophisticated public which was sensitive to the most subtle relations of color and liked pictures hung on the light paneling of even the smallest room.
This intimate painting of "Venus and Cupid," with its sensuously modeled nudes, embodies the French 18th century tendency to transform the Baroque style into one of more delicate elaboration and elegance. An 18th-century engraving, which P. Aveline made after the painting, is inscribed "F. Boucher pinxit."
[Gallery label text, 2008]
back of frameback of stretcherback of frame
1950.4
item
Memorial Art Gallery
1/25/2001
50.4SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
5x7
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
50.4DI1
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/50.4_A1.jpg
50.4DI2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/50.4_I1.jpg
50.4DI3
digital image
00/00/00
http://127.0.0.1:5000/Media/images/50.4_A2.jpg
50.4DI#4
digital image
5/27/2015
http://127.0.0.1:5000/Media/images/50.4_A3.jpg
x-ray
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
St. Margaret with a Donor
Vrancke van der Stockt, (before 1420 - c. 6/14/1495)
Stockt, Vrancke van der
Flanders
before 1420 - c. 6/14/1495
Male
Primary
18 1/8 x 7 7/8 in. (46 x 20 cm)
.
.
.
.
.
.
approximate installation dimensions
frame
Oil
Oil
0
0
1400-1600, dragons, paintings, Renaissance & Baroque, St. Margaret, women
Painting
This painting, which shows a woman in contemporary dress kneeling in devotion before an open prayer book, her patron saint behind her, was once the right wing of a small triptych, or three-part altarpiece. Saint Margaret, who is recognizable through her attributes, or identifying symbols, holds a cross; a fanged dragon is at her feet. According to the story, Margaret spent her life following the teachings of Christ. The governor of Antioch in the ancient Roman province of Syria, now modern Turkey, fell in love with Margaret’s beauty and asked her to marry him. She rejected his proposal, vowing to remain a virgin. The governor sent her to prison, where the Devil appeared to Margaret as a dragon. She was saved by her Christian faith: when the dragon swallowed Margaret, she made the sign of the cross, which split the dragon in two and allowed her to escape from his belly unharmed.
The left panel of the altarpiece, now in the Allen Memorial Art Museum of Oberlin University in Oberlin, Ohio, is a mirror image of this scene and depicts the woman’s husband also kneeling in devotion with his patron saint behind him. The center panel of the altarpiece to which the couple offers their prayers was probably a painting of the Virgin and infant Christ.
[Expanded from gallery label text, June 2013]
1944.15
item
Memorial Art Gallery
1/19/2001
44.15TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
44.15SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
3x2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
44.15DI1
digital image
full
2 x 2
6/28/2002
http://127.0.0.1:5000/Media/images/44.15_A1.jpg
44.15DI2
digital image
detail of serpent
2 x 2
6/20/2002
http://127.0.0.1:5000/Media/images/44.15_A2.jpg
44.15DI3
digital image
detail of donor
2 x 2
6/20/2002
http://127.0.0.1:5000/Media/images/44.15_A3.jpg
44.15SL2
slide
detail - snake
2x2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
44.15SL3
slide
detail - donor's face
2x2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
44.15DI4
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/44.15_A4.jpg
x-ray
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
44.15DI#5
digital image
4/30/2021
http://127.0.0.1:5000/Media/images/44.15_A5.jpg
44.15DI#8
digital image
Detail
4/30/2021
http://127.0.0.1:5000/Media/images/44.15_A8.jpg
44.15DI#7
digital image
4/30/2021
http://127.0.0.1:5000/Media/images/44.15_A7.jpg
44.15DI#6
digital image
4/30/2021
http://127.0.0.1:5000/Media/images/44.15_A6.jpg
Painting
Tavern Scene
David Teniers the Younger, (Antwerp, 1610 - 1690, Brussels)
Teniers the Younger, David
Flanders
1610 - 1690
Male
18 3/8 x 24 in. (46.7 x 61 cm)
.
.
.
.
.
.
.
.
.
overall framed size
horizontal
frame
Oil
Oil
1680
1680
1680
1600-1800, 17th century, dogs, genre scenes, leisure activities, men, paintings
Painting
The son-in-law of Jan Brueghel and a friend of Peter Paul Rubens, Teniers achieved success in Antwerp and then moved to Brussels, where he served as court painter to the archduke Leopold Wilhelm and later to Don Juan of Austria. Tavern Scene is one of numerous genre paintings in which rustics carouse, uninhibited by notions of propriety or temperance. Such subjects frequently served a moralizing purpose, indicated here by the drawing tacked to the wall above the laughing drunkard. The bird flanked by eyeglasses and candlestick may illustrate the proverb, “What use candle and spectacles if the owl cannot and will not see?”
[Gallery label text]
lower left
1955.70
item
Memorial Art Gallery
1/22/2001
55.70TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.70SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.70SL2
slide
detail- dog
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.70DI1
digital image
Memorial Art Gallery
Imaging complete
4 x 5
10/30/2001
http://127.0.0.1:5000/Media/images/55.70_A1.jpg
55.70SL3
slide
detail-bkground right
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.70SL4
slide
detail bkground left
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.70DI#2
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/55.70_A2.jpg
Painting
Landscape with Figures
Joos de Momper, (1564 - 1635)
Momper, Joos de
Flanders
1564 - 1635
Male
18 5/8 x 26 7/8 in. (47.3 x 68.3 cm)
.
.
.
Oil
Oil
ca. 1620 (?)
1615
1625
1600-1800, 17th century, castles, landscapes, paintings
Painting
1946.36
item
Memorial Art Gallery
1/22/2001
46.36SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
46.36DI1
digital image
6/28/2002
http://127.0.0.1:5000/Media/images/46.36_A1.jpg
46.36SL2
slide
detail - figures
2x2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
46.36DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
46.36DI#3
digital image
Detail
6/10/2009
http://127.0.0.1:5000/Media/images/46.36_A3.jpg
46.36DI#2
digital image
Detail
6/10/2009
http://127.0.0.1:5000/Media/images/46.36_A2.jpg
x-ray
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
Eva Bicker
Dirck van Santvoort, 1610 - 1680
Santvoort, Dirck van
Netherlands
1610 - 1680
Male
27 x 23 1/2 in. (68.6 x 59.7 cm)
.
.
.
.
.
.
approximate installation dimensions
frame
Oil
Oil
ca. 1640
1635
1645
1600-1800, 17th century, paintings, portraits, women
Painting
, Removed from backing or frame, now in curatorial fileu.r. of cradleu.r. of cradlecradle, Partial label, torn away at left sidecradle, [old paper label, darkened, no text visible]back of panelcradlecradlecradle
1955.72
item
Memorial Art Gallery
1/22/2001
55.72SL1
slide
post treatment
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.72DI1
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/55.72_A1.jpg
55.72SL2
slide
before conservation
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.72DI2
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/55.72_A2.jpg
55.72DI#3
digital image
3/5/2024
http://127.0.0.1:5000/Media/images/55.72_A3.jpg
Painting
Portrait of a Gentleman
Nicolaes Maes, (Dordrecht, Netherlands, 1634 – 1693, Amsterdam)
Maes, Nicolaes
Netherlands
1634 - 1693
Male
47 x 38 1/2 in. (119.4 x 97.8 cm)
.
.
.
.
.
.
approximate installation dimensions
frame
Oil
Oil
ca. 1670
1665
1675
1600-1800, 17th century, men, paintings, portraits
Painting
lower leftback of frame
1955.77
item
Memorial Art Gallery
1/22/2001
55.77SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
5x7
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
5x7
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
3x2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.77D1
digital image
full
2 x 2
6/14/2002
http://127.0.0.1:5000/Media/images/55.77_A1.jpg
55.77DI2
digital image
detail
2 x 2
6/14/2002
http://127.0.0.1:5000/Media/images/55.77_A2.jpg
55.77DI3
digital image
detail
2 x 2
6/20/2002
http://127.0.0.1:5000/Media/images/55.77_A3.jpg
55.77SL2
slide
deatil-right hand close up
2x2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.77SL3
slide
detail - right hand
2x2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.77DI4
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.77DI#5
digital image
3/5/2024
http://127.0.0.1:5000/Media/images/55.77_A4.jpg
Painting
Still Life with Quince
Roman artist
Roman artist
Italy
Primary
Realfonso, Tommaso
Italy
ca. 1677 - after 1743
Male
Previous attribution
27 1/2 x 43 in. (69.9 x 109.2 cm)
.
.
.
Oil
Oil
17th Century - early 18th Century
1600
1732
European art, paintings, still lifes
Painting
back of canvasback of stretcherback of stretcherback of stretcherback of stretcherback of stretcher
1964.110
item
Memorial Art Gallery
1/22/2001
64.110SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
64.110SL2
slide
detail-lemons
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
3 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
64.110SL3
slide
detail-bowl
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
64.110SL4
slide
detail tall container
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
64.110DI1
digital image
5/1/2002
http://127.0.0.1:5000/Media/images/Inventory pictures/64.110_I1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/64.110_A1.jpg
64.110TR1
transparency
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
64.110DI#2
digital image
full
4/10/2006
http://127.0.0.1:5000/Media/images/64.110_A2.jpg
61.110DI#3
digital image
Detail
6/4/2009
http://127.0.0.1:5000/Media/images/64.110_A3.jpg
61.110DI#4
digital image
Detail
6/4/2009
http://127.0.0.1:5000/Media/images/64.110_A4.jpg
61.110DI#5
digital image
Detail
6/4/2009
http://127.0.0.1:5000/Media/images/64.110_A5.jpg
Painting
Two Musicians
Bernardo Strozzi, (Genoa, 1581 - 1644, Venice)
Strozzi, Bernardo
Italy
1581 - 1644
Male
45 5/8 x 47 7/8 in. (115.9 x 121.6 cm)
.
.
.
Oil
Oil
1630-1635
1630
1635
1600-1800, 17th century, musical instruments (depictions), musicians, paintings
Painting
This scene of a middle-aged lute player and young violinist illustrates many qualities of Baroque art. Both musicians look directly out from the painting, their eye contact and lively expressions establishing a sympathetic psychological relationship with their audience. A parapet that separates performer from spectator links imaginary and actual space; dramatic lighting, naturalistic details and richly saturated colors all merge to intensify the viewer’s visual experience.
The meaning of Two Musicians leaves much to the imagination. The two figures here could suggest a contrast between naïve youth and experienced age; the violin and the lute both refer to ideas of balance and harmony. Concert scenes sometimes symbolize the sense of hearing or the idea of harmony and love. Whatever the interpretation, these paintings of concerts were, like the music they represent, extremely popular with their public during the Baroque period.
As a young man, Strozzi entered a monastery where he painted religious subjects. After his father’s death, he was allowed to leave the monastery to support his mother; he refused, though, to return after she died and was forced to flee his native Genoa. In 1631, he settled in Venice, where he became a Roman Catholic prelate, or church official. He enjoyed continuous success as a painter for the rest of his life.
[Gallery label text]
back of stretcher, Presumably MAG incoming receipt number?back of stretcherback of stretcher, Circular stamp, stamped twice: Swiss export stamp.back of stretcherback of stretcher, On crossbar of stretcher
1953.8
item
Memorial Art Gallery
1/22/2001
53.8TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.8SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.8SL2
slide
detail-older man hands
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.8DI1
digital image
4 x 5
00/00/00
http://127.0.0.1:5000/Media/images/53.8_A1.jpg
53.8SL3
slide
detail-man's head
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.8SL4
slide
detail- boy's head
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.8SL5
slide
detail-boy's hand
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.8DI#2
digital image
4/7/2009
http://127.0.0.1:5000/Media/images/53.8_A2.jpg
53.8DI#3
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/53.8_A3.jpg
53.8DI#4
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/53.8_A4.jpg
53.8DI#5
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/53.8_A5.jpg
53.8DI#6
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/53.8_A6.jpg
53.8DI#7
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/53.8_A7.jpg
x-ray
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
The Reconciliation of King Henry III and Henry of Navarre
Peter Paul Rubens, 1577 - 1640
Rubens, Peter Paul
Flanders
1577 - 1640
Male
9 3/8 x 7 5/8 in. (23.8 x 19.4 cm)
.
.
.
.
.
.
frame
Oil
Oil
1628
1628
1628
1600-1800, 17th century, men, paintings, world history
Painting
In 1622 Marie de' Medici commissioned from the internationally famous painter Rubens two series of enormous paintings to decorate the Luxembourg Palace in Paris, where she then lived. The first series, now in the Louvre, told her own life story. The second was to tell the life of her husband Henry IV, but was never completed, and most of the scenes are known only from painted sketches like this one. The event here is a 1589 meeting between King Henry III of France (Catherine de' Medici's youngest son) and King Henry of Navarre, the future King Henry IV of France.
Henry III had no heirs, and a rival faction of French nobles who wanted to usurp his throne had taken over Paris. His cousin Henry of Navarre, although Protestant and excommunicated by the Pope, was the rightful heir. At the meeting portrayed here, Henry III promised to declare Henry of Navarre his heir, if the famous warrior king would help him to recapture Paris. To symbolize the agreement, Rubens shows the two kings clasping hands around the royal French scepter and a figure behind them holding an insignia of two clasped hands. A few months later, Henry III was stabbed by an assassin. On his deathbed, he made Henry IV promise to convert to Catholicism. Henry IV's famous comment was "Paris is well worth a mass" ("Paris vaut vien une messe").
[Gallery label text, 1996]
, Removed from back of work or frame; now in curatorial file (8/07), Removed from back of work or frame; now in curatorial file (8/07)back of frameback of frameback of panel, Probably title page from the 1819 exhibition catalogueback of panelback of panelback of panel, Long text in French, describing the painting and the event depictedback of panel, Circular stamp, illegible-- possibly export stamp?back of panel, Small label with stamped blue circle; label is perforated vertically and horizontally at center
1944.24
item
Memorial Art Gallery
1/22/2001
44.24SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
1x1
00/00/00
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glossy
8x10
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neg
8x10
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neg
4x5
00/00/00
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44.24DI1
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/44.24_A1.jpg
44.24SL2
slide
detail, upper half
2 x 2
00/00/00
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44.24SL3
slide
detail- dog
2 x 2
00/00/00
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44.24DI2
digital image
verso
00/00/00
http://127.0.0.1:5000/Media/images/44.24_A2.jpg
44.24DI#3
digital image
3/25/2008
http://127.0.0.1:5000/Media/images/44.24_A3.jpg
44.24TR1
transparency
Front
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
x-ray
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
Figures Amidst Ruins
Hubert Robert, (Paris, 1733 - 1808, Paris)
Robert, Hubert
France
1733 - 1808
Male
25 3/4 x 32 1/8 in. (65.4 x 81.6 cm)
.
.
.
overall framed size
horizontal
frame
.
.
.
without frame
Oil
Oil
ca. 1775
1770
1780
1600-1800, 18th century, landscapes, paintings, ruins
Painting
lower left, in image
1963.14
item
Memorial Art Gallery
1/25/2001
63.14TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4 x 6
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
64.14SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
63.14D1
digital image
full
4 x 5
6/14/2002
http://127.0.0.1:5000/Media/images/63.14_A1.jpg
63.14DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
63.14DI2
digital image
Detail
6/16/2009
http://127.0.0.1:5000/Media/images/63.14_A2.jpg
Mosaic
Head of an Angel
Roman artist
Roman artist
Italy
Primary
25 11/16 x 21 9/16 x 2 3/8 in. (65.2 x 54.7 x 6 cm)
.
.
.
with mount
overall
.
.
.
without mount
overall
Glass
Glass
Italian; made in Torcello
ca. 1150-1200
1150
1200
1000-1400, angels, glass, Medieval, mosaic
Mosaic
1942.52
item
Memorial Art Gallery
1/26/2001
42.52SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
42.52SL2
slide
detail
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
5x7
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
42.52DI1
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/42.52_A1.jpg
42.52DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
42.52DI3
digital image
4/26/2002
http://127.0.0.1:5000/Media/images/42.52_A2.jpg
42.52DI#4
digital image
with mount
4/18/2011
http://127.0.0.1:5000/Media/images/42.52_A3.jpg
42.52DI#5
digital image
4/18/2011
http://127.0.0.1:5000/Media/images/42.52_A4.jpg
Painting
Head of a Saint
Roman artist
Roman artist
Italy
Primary
10 1/2 x 10 1/2 in. (26.7 x 26.7 cm)
.
.
.
.
.
.
approximate installation dimensions
frame
Paint
Paint
Italian; made in Sicily
800s
800
800
500-1000, early Christian-Byzantine, male saints
Painting
1949.31
item
Memorial Art Gallery
1/29/2001
49.41SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
49.31DI1
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/49.31_A2.jpg
49.31D2
digital image
full
2 x 2
6/14/2002
http://127.0.0.1:5000/Media/images/49.31_A1.jpg
49.31DI3
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
49.31DI#4
digital image
3/1/2010
http://127.0.0.1:5000/Media/images/49.31_A3.jpg
Painting
Between Coubron and Montfermeil, Undergrowth (Entre Coubron et Montfermeil)
Jean-Baptiste-Camille Corot, 1796 - 1875
Corot, Jean-Baptiste-Camille
France
1796 - 1875
Male
13 3/4 x 17 1/2 in. (34.9 x 44.5 cm)
.
.
.
approximate installation dimensions
frame
Oil
Oil
1871-1872
1871
1872
1800-1900, 19th century, jobs & work, landscapes, men, paintings
Painting
lower right
1938.8
item
Memorial Art Gallery
1/29/2001
38.8TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
38.8SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
6x4
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
6x4
00/00/00
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neg
8x10
00/00/00
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glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
38.8SL2
slide
full with frame
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
38.8SL1
slide
detail- figures
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
38.8DI1
digital image
6/28/2002
http://127.0.0.1:5000/Media/images/38.8_A1.jpg
38.8DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
At Court (Au Tribunal)
Jean Louis Forain, (Reims, France, 1853 – 1931, Paris)
Forain, Jean Louis
France
1853 - 1931
Male
22 x 27 5/8 in. (55.9 x 70.2 cm)
.
.
.
approximate installation dimensions
frame
Oil
Oil
ca. 1900
1895
1905
children, European art, lawyers, men, paintings, politics in art, women
Painting
1954.1
item
Memorial Art Gallery
1/29/2001
54.1TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
54.1SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
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negative
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
54.1D1
digital image
full
4 x 5
6/14/2002
http://127.0.0.1:5000/Media/images/54.1_A1.jpg
54.1DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
Pierre-François Bernier (1779-1803)
Jean-August-Dominique Ingres, 1780 - 1867
Ingres, Jean-August-Dominique
France
1780 - 1867
Male
18 1/4 x 15 in. (46.4 x 38.1 cm)
.
.
.
approximate installation dimensions
frame
Oil
Oil
1800
1800
1800
1800-1900, 19th century, men, paintings, portraits
Painting
back of canvas, Inscription was on back of original canvas, lost to relining (after 1911); inscription transcribed in curatorial file. Unclear if inscription is in artist's handback of stretcher, Written twiceback of stretcherback of stretcher
1955.176
item
Memorial Art Gallery
1/29/2001
55.176TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.176SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.176DI1
digital image
full
4 x 5
6/21/2002
http://127.0.0.1:5000/Media/images/55.176_A1.jpg
55.176DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.176DI3
digital image
full
4 x 5
00/00/00
http://127.0.0.1:5000/Media/images/55.176_A2.jpg
Painting
Still Life with Pipe (Nature morte à la Pipe)
Georges Braque, (Argenteuil, France, 1882 - 1963, Paris)
Braque, Georges
France
1882 - 1963
Male
16 x 13 in. (40.6 x 33 cm)
.
.
.
.
.
.
approximate installation dimensions
frame
Oil
Oil
1913
1913
1913
1900-2000, 20th century, Cubism, paintings, still lifes
Painting
back of canvas
1954.12
item
Memorial Art Gallery
1/30/2001
54.12SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
5x7
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
3x2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
54.12DI1
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/54.12_A1.jpg
54.12DI#2
digital image
6/4/2012
http://127.0.0.1:5000/Media/images/54.12_A2.jpg
Painting
Girl with a Tricorne (Vénitienne)
Henri Matisse, (Le Cateau-Cambrésis, France, 1869 – 1954, Nice, France)
Matisse, Henri
France
1869 - 1954
Male
24 3/8 x 20 in. (61.9 x 50.8 cm)
.
.
.
.
.
.
approximate installation dimensions
frame
Oil
Oil
1922-1923
1922
1923
1900-2000, 20th century, paintings, women
Painting
lower right
1924.38
item
Memorial Art Gallery
1/30/2001
24.38TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
24.38SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
5 x 7
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
5 x 7
00/00/00
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negative
2 x 2
00/00/00
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glossy
2 x 2
00/00/00
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negative
8 x 10
00/00/00
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negative
4 x 5
00/00/00
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glossy
8 x 10
00/00/00
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24.38SL2
slide
detail
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
24.38DI1
digital image
4 x 5
00/00/00
http://127.0.0.1:5000/Media/images/24.38_A1.jpg
24.38DI2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/24.38_A2.jpg
24.38DI#3
digital image
Detail
00/00/00
http://127.0.0.1:5000/Media/images/24.38_A3.jpg
24.38DI#4
digital image
Detail left side of dress
00/00/00
http://127.0.0.1:5000/Media/images/24.38_A4.jpg
24.38DI#4
digital image
Detail of dress
00/00/00
http://127.0.0.1:5000/Media/images/24.38_A5.jpg
pdf file
00/00/00
http://127.0.0.1:5000/Media/images/surrogates/pdf/24.38_R1.pdf
Painting
Crucifixion with God the Father
Giovanni del Biondo, (active 1356 - 1399)
Giovanni del Biondo
Italy
active 1356 - 1399
Male
68 3/16 x 25 7/8 x 4 3/8 in. (173.2 x 65.7 x 11.1 cm)
.
.
.
Tempera
Tempera
ca. 1375-1380
1375
1380
1000-1400, Crucifixion, paintings, Renaissance & Baroque
Painting
back of frame, Inscribed twiceback of frameback of frame
1951.26
item
Memorial Art Gallery
1/30/2001
51.26TR1
transparency
2.5 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.26SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.26SL2
slide
detail-figures at base of cross
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
8x10
00/00/00
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5x7
00/00/00
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negative
4x5
00/00/00
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negative
2 x 2
00/00/00
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51.26DI1
digital image
2.5 x 3
00/00/00
http://127.0.0.1:5000/Media/images/51.26_A1.jpg
51.26DI2
digital image
2.5 x 3
00/00/00
http://127.0.0.1:5000/Media/images/51.26_A2.jpg
51.26DI#3
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/51.26_A3.jpg
51.26DI#4
digital image
4/18/2011
http://127.0.0.1:5000/Media/images/51.26_A4.jpg
51.26DI#5
digital image
Detail
4/18/2011
http://127.0.0.1:5000/Media/images/51.26_A5.jpg
51.26DI#6
digital image
Detail
4/18/2011
http://127.0.0.1:5000/Media/images/51.26_A6.jpg
51.26DI#7
digital image
Detail
4/18/2011
http://127.0.0.1:5000/Media/images/51.26_A7.jpg
00/00/00
http://127.0.0.1:5000/Media/images/related_images/51.26_R1.pdf
Ceramics
Horned Hunchback Figure Vessel
Colima artist, (active )
Colima artist
Mexico
Primary
12 7/8 x 9 in. (32.7 x 22.9 cm)
.
.
.
Clay
Clay
Colima; made in Mexico
ca. 200 BCE – 500 CE
200 BCE
500
Colima, Pre-Columbian art of Central & South America, vessels
Ceramics
Many ceramic hunchback figures with single horns strapped to their heads have been found in the tombs of the Colima culture. The frequency with which hunchbacks and dwarfs appear in the art of the Ancient Americas may indicate their significant status as shamans or spiritual advisors. The horns strapped to the Colima figures are thought to represent powerful caps characteristically worn by shamans across many cultures.
Shamanism is a religious system in which the shaman is a spiritual mediator between the physical and spiritual worlds. A shaman figure buried in a tomb may have served to guide the deceased’s transition from the living to the realm of the dead.
[Gallery label text, 2009]
1942.24
item
Memorial Art Gallery
2/3/2001
42.24SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
42.24DI1
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/42.24_A1.jpg
42.24DI#2
digital image
Three-quarter
5/12/2009
http://127.0.0.1:5000/Media/images/42.24_A2.jpg
42.24DI#3
digital image
Three-quarter
5/12/2009
http://127.0.0.1:5000/Media/images/42.24_A3.jpg
42.24DI#4
digital image
Side
5/12/2009
http://127.0.0.1:5000/Media/images/42.24_A4.jpg
Ceramics
Warrior Head
Remojadas artist, (active )
Remojadas artist
Mexico
7 1/2 x 5 1/2 in. (19.1 x 14 cm)
.
.
.
Clay
Clay
Remojadas; made in Veracruz, Mexico
300-900
300
900
Pre-Columbian art of Central & South America, Totonac
Ceramics
Veracruz, the Gulf Coast region of Mexico, is rich in archaeological sites with great quantities of ceramic and stone sculptures. This head is a fragment of a larger figure, now missing. The influence from the Maya civilization to the south is visible in the face’s crossed eyes. The Maya believed that since humans had to squint their eyes to look at the sun, the Sun God squinted back. Thus, crossed eyes became a standard of beauty, and parents would hang beads between their children’s eyes so they became permanently crossed.
[Gallery label text, 2009]
1944.61
item
Memorial Art Gallery
2/3/2001
44.61SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
3x2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
3x2
00/00/00
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neg
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
44.61DI1
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/44.61_A1.jpg
44.61DI#2
digital image
5/12/2009
http://127.0.0.1:5000/Media/images/44.61_A2.jpg
x-ray
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Stonework
Palma: Eagle Attacking a Skull
Veracruz artist, (active )
Veracruz artist
Mexico
10 7/16 x 4 3/4 x 6 11/16 in. (26.5 x 12 x 17 cm)
.
.
.
overall
overall
Limestone
Limestone
Veracruz; made in Mexico
300-900
300
900
Meso-American ballgame, Pre-Columbian art of Central & South America, sculpture, Vera Cruz
Stonework
In the Mesoamerican ballgame, players on the losing team were sometimes sacrificed by decapitation in rituals following the game. Skull racks displaying decapitated heads were often located adjacent to ball courts. This ceremonial stone palma (a stone version of a piece of the ballplayer’s equipment) depicts an eagle attacking a human skull. This is a common motif in ballgame imagery and may reference the flesh-eating birds that gorged themselves on the bodies of the sacrificed victims.
[Gallery label text, 2009]
1944.66
item
Memorial Art Gallery
2/3/2001
44.66SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
3x2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
3x2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
44.66DI1
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/44.66_A1.jpg
44.66DI#2
digital image
Three-quarter
5/12/2009
http://127.0.0.1:5000/Media/images/44.66_A2.jpg
44.66DI#3
digital image
Three-quarter
5/12/2009
http://127.0.0.1:5000/Media/images/44.66_A3.jpg
44.66DI#4
digital image
Back
5/12/2009
http://127.0.0.1:5000/Media/images/44.66_A4.jpg
Ceramics
Seated Female Figure
Colima artist, (active )
Colima artist
Mexico
Primary
6 5/8 x 4 3/4 x 3 1/2 in. (16.8 x 12.1 x 8.9 cm)
.
.
.
Clay
Clay
Colima; made in Mexico
200 BCE - 500 CE
200 BCE
500
1000 BCE - 500 CE, Colima, figures, Pre-Columbian art of Central & South America
Ceramics
The ancient people of West Mexico focused upon the powerful bonds of familial relationships in their ceramics. Treating death not as an end of existence, but as a next stage in a larger journey, these transitional objects were made in the physical world for travel with the dead to the Underworld. Perhaps such figural ceramic groups were made to accompany the deceased into the afterlife as an extension of earthly comforts. Another, more symbolic and less personal approach interprets the ceramic groups as embodiments of agriculture, abundance or lineage.
[Gallery label text, 2009]
1954.40.1
item
Memorial Art Gallery
2/3/2001
glossy
5x7
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
5x7
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
54.40.1SL1
slide
with 54.40.2
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
54.40.1DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/54.40.1_A1.jpg
54.40.1DI2
digital image
male & female figures
00/00/00
http://127.0.0.1:5000/Media/images/54.40.1-.2_A1.jpg
Ceramics
Standing Female Figure
Nayarit artist, (active )
Nayarit artist
Mexico
19 in. (48.3 cm)
.
.
.
Clay
Clay
Nayarit; made in Mexico
200 BCE-600 CE
200 BCE
600
Pre-Columbian art of Central & South America
Ceramics
Beads, armbands, pendants, and ear and nose ornaments have been found on skeletal remains in Ancient American tombs. This Nayarit woman is depicted with nose, neck and ear ornaments and scarification (cutting or branding designs into the skin) on her shoulders and arms. The specificity of adornment would have associated this figure with a particular culture and class. These details contrast with an abstracted body that minimizes certain physical features while emphasizing others. The small, truncated arms are likely a stylistic convention; the wide, heavy hips and legs emphasize the woman’s connection with the earth and reproduction.
[Gallery label text, 2009]
right foot, Per Sandra Markham's data sheet in curatorial file
1954.41
item
Memorial Art Gallery
2/3/2001
54.41SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
54.41DI1
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/54.41_A1.jpg
54.41DI#2
digital image
7/28/2009
http://127.0.0.1:5000/Media/images/54.41_A2.jpg
Sculpture
The God Horus as a Falcon
Egyptian artist
Egyptian artist
Egypt
Primary
6 x 5 in. (15.2 x 12.7 cm)
.
.
.
Bronze
Bronze
664 BCE - 525 BCE
664 BCE
525 BCE
1000 BCE - 500 CE, birds, Egyptian, Horus
Sculpture
1953.44
item
Memorial Art Gallery
2/14/2001
53.44SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.44DI1
digital image
Memorial Art Gallery
Imaging Complete
00/00/00
http://127.0.0.1:5000/Media/images/53.44_A1.jpg
digital image
Memorial Art Gallery
Imaging Complete
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.44DI#2
digital image
12/10/2009
http://127.0.0.1:5000/Media/images/53.44_A2.jpg
53.44DI#3
digital image
12/10/2009
http://127.0.0.1:5000/Media/images/53.44_A3.jpg
53.44DI4
digital image
Side
00/00/00
http://127.0.0.1:5000/Media/images/53.44_A4.jpg
53.44DI5
digital image
From above
00/00/00
http://127.0.0.1:5000/Media/images/53.44_A5.jpg
Painting
Allegory of Vanity: Lady with a Mirror
Flemish artist
Flemish artist
Flanders
Primary
Mieris the Elder, Frans van
Netherlands
1635 - 1681
Male
Previous attribution
13 x 10 in. (33 x 25.4 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
ca. 1600
1595
1605
1400-1600, 1600-1800, 17th century, allegories, figure, flowers in art, paintings, women
Painting
This painting has all the elements of the Christian medieval tradition of an allegory of vanity, or the personification of all the temptations and vain pleasures of the world. The painter drew on a wide vocabulary of images to suggest the transience of the material world. In this painting, dressed in fine clothes and bedecked in jewels, the woman seems to be turning away from the mirror, the symbol of vanity. In reality, though, out of the corner of her eye she gazes approvingly at her own reflection. The mirror also represents the idea of false appearances; her jewels symbolize the dangerous allure of wealth. Fresh flowers, beautiful for only a few days, suggest the fleeting nature of beauty; the book on her table refers to earthly rather than spiritual knowledge.
[Gallery label text, 2005]
back of frameback of panel
1955.132
item
Memorial Art Gallery
2/20/2001
55.132SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.132DI1
digital image
5/16/2002
http://127.0.0.1:5000/Media/images/Inventory pictures/55.132_I1.jpg
55.132DI2
digital image
full
2 x 2
6/14/2002
http://127.0.0.1:5000/Media/images/55.132_A1.jpg
55.132DI3
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.132DI4
condition
digital image
full including frame
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/55.132_I2.jpg
55.132DI#5
digital image
6/22/2010
http://127.0.0.1:5000/Media/images/55.132_A2.jpg
x-ray
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
Near Cagnes
Pierre Auguste Renoir, (Limoges, France, 1841 - 1919, Cagnes-sur-Mer, France)
Renoir, Pierre Auguste
France
1841 - 1919
Male
18 3/8 x 22 in. (46.7 x 55.9 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
ca. 1907-1919
1907
1919
1900-2000, 20th century, landscapes, paintings
Painting
Renoir’s health began failing in the early 1900s, and he spent most of his remaining years in the south of France. In 1907, he bought property near Nice, France, where he lived until his death. Despite his physical limitations due to severe rheumatism, he continued to paint still lifes, portraits, and landscapes of the area. Like Monet, he used a fairly limited color palette, usually five to seven pigments, to create his complex, yet subtle, color relationships.
[Label copy from Monet: Vision and Process exhibition, 2018]
back of stretcher, removed from original stretcher, now in curatorial fileback of stretcher, removed from original stretcher, now in curatorial fileback of stretcher, removed from original stretcher, now in curatorial fileback of stretcher, removed from original stretcher, now in curatorial fileback of stretcher, removed from original stretcher, now in curatorial fileback of stretcher, visible in conservation photo of reverse of old stretcherback of stretcher, visible in conservation photo of reverse of old stretcherback of stretcher, visible in conservation photo of reverse of old stretcherback of stretcher, visible in conservation photo of reverse of old stretcherback of stretcher, visible in conservation photo of reverse of old stretcherlower left
1951.27
item
Memorial Art Gallery
2/20/2001
51.27TR2
transparency
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.27TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.27SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.27DI1
digital image
8 x 10
00/00/00
http://127.0.0.1:5000/Media/images/51.27_A1.jpg
51.27DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.27DI#3
digital image
2/6/2013
http://127.0.0.1:5000/Media/images/51.27_A2.jpg
Painting
Portrait of a Man
Vincenzo di Biagio Catena, (ca. 1470 - 1531)
Catena, Vincenzo di Biagio
Italy
ca. 1470 - 1531
Male
12 3/4 x 10 1/4 in. (32.4 x 26 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
ca. 1508
1503
1513
1400-1600, European art, men, paintings, portrait, portraits
Painting
Vicenzo Catena was active a generation after Hans Memling, the Northern Renaissance artist who inspired Kehinde Wiley’s contemporary portrait nearby. Despite a difference of 500 years in the creation of Catena’s and Wiley’s portraits, the similarities are striking. Both are three-quarter profiles of young men of their day, set in a distant landscape. The sitters are linked not by social status but by their stillness and intensity of gaze, and by their immediate relationship to the viewer.
Catena’s patrons were primarily members of the aristocratic and wealthy classes of Venice, Italy, of which the sitter for "Portrait of a Young Man" was certainly a member. The portrait’s aesthetic appeal derives from the simple, crisp composition; high level of craftsmanship; strong characterization of the sitter; and fluid use of brilliant and contrasting oil glazes.
[Hawks Gallery reinstallation, summer 2019]
back of frameback of frameback of frameback of cradleback of cradle, Two identical red wax sealsside of frame
1949.64
item
Memorial Art Gallery
2/20/2001
49.64SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
5x7
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
49.64DI1
digital image
5/16/2002
http://127.0.0.1:5000/Media/images/Inventory pictures/49.64_I1.jpg
49.64SL2
slide
detail - eyes
2x2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
49.64SL3
slide
detail - face
2x2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
49.64SL4
slide
full and left profile
2x2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
49.64DI2
digital image
Full
00/00/00
http://127.0.0.1:5000/Media/images/49.64_A1.jpg
49.64DI#2
digital image
Detail
6/10/2009
http://127.0.0.1:5000/Media/images/49.64_A2.jpg
49.64DI#3
digital image
Detail
6/10/2009
http://127.0.0.1:5000/Media/images/49.64_A3.jpg
x-ray
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Watercolor
Flowers
Pablo Picasso, (Málaga, Spain, 1881 - 1973, Mougins, France)
Picasso, Pablo
Spain
1881 - 1973
Male
24 1/2 x 18 1/2 in. (62.2 x 47 cm)
.
.
.
.
.
.
overall
frame
.
.
.
approximate installation dimensions
frame
Gouache
Gouache
1904
1904
1904
1900-2000, 20th century, flowers in art, paintings
Watercolor
1931.29
item
Memorial Art Gallery
3/10/2001
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
31.29SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
5 x 7
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
31.29DI1
digital image
2 x 2
7/23/2002
http://127.0.0.1:5000/Media/images/31.29_A1.jpg
31.29DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Color separations
5 x 7
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
31.29SL2
slide
with frame
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
31.29DI#2
digital image
post-conservation treatment
10/31/2010
http://127.0.0.1:5000/Media/images/31.29_A2.jpg
Painting
Portrait of a Woman (one of a pair)
Attributed to Thomas de Keyser, (ca. 1596 - 1667)
Keyser, Thomas de
Netherlands
ca. 1596 - 1667
Male
6 x 4 1/2 in. (15.2 x 11.4 cm)
.
.
.
.
.
.
approximate installation dimensions
frame
Oil
Oil
1625
1625
1625
1600-1800, 17th century, paintings, portrait, portraits, women
Painting
center left, Her inscription presumably matches 55.81.2 but is less legible
1955.81.1
item
Memorial Art Gallery
7/1/2002
55.81.1D1
digital image
full
2 x 2
6/14/2002
http://127.0.0.1:5000/Media/images/55.81.1_A1.jpg
55.81.1SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.81.1DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.81.1DI#3
digital image
2/18/2008
http://127.0.0.1:5000/Media/images/55.81.1_A2.jpg
55.81.1DI#4
digital image
2/18/2008
http://127.0.0.1:5000/Media/images/55.81.1_A3.jpg
55.81.1DI#4
digital image
detail
2/18/2008
http://127.0.0.1:5000/Media/images/55.81.1_A4.jpg
55.81.1TR1
transparency
Front
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
Portrait of a Man (one of a pair)
Attributed to Thomas de Keyser, (ca. 1596 - 1667)
Keyser, Thomas de
Netherlands
ca. 1596 - 1667
Male
6 x 4 1/2 in. (15.2 x 11.4 cm)
.
.
.
.
.
.
approximate installation dimensions
frame
Oil
Oil
1625
1625
1625
1600-1800, 17th century, men, paintings, portrait, portraits
Painting
center right
1955.81.2
item
Memorial Art Gallery
7/1/2002
55.81.1DI#1
digital image
Front
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/55.81.2_A1.jpg
55.81.2DI#2
digital image
2/18/2008
http://127.0.0.1:5000/Media/images/55.81.2_A2.jpg
55.81.2DI#A3
digital image
2/18/2008
http://127.0.0.1:5000/Media/images/55.81.2_A3.jpg
55.81.2DI#4
digital image
detail
2/18/2008
http://127.0.0.1:5000/Media/images/55.81.2_A4.jpg
55.81.2TR1
transparency
Front
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Ceramics
Standing Male Figure
Colima artist, (active )
Colima artist
Mexico
Primary
9 3/8 x 4 3/4 x 1 3/8 in. (23.8 x 12.1 x 3.5 cm)
.
.
.
Clay
Clay
Colima; made in Mexico
200 BCE - 500 CE
200 BCE
500
Colima, figures, Pre-Columbian art of Central & South America
Ceramics
The ancient people of West Mexico focused upon the powerful bonds of familial relationships in their ceramics. Treating death not as an end of existence, but as a next stage in a larger journey, these transitional objects were made in the physical world for travel with the dead to the Underworld. Perhaps such figural ceramic groups were made to accompany the deceased into the afterlife as an extension of earthly comforts. Another, more symbolic and less personal approach interprets the ceramic groups as embodiments of agriculture, abundance or lineage.
[Gallery label text, 2009]
1954.40.2
item
Memorial Art Gallery
7/16/2002
54.40.2DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/54.40.2_A1.jpg
54.40.2DI2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/54.40.1-.2_A1.jpg