33
Exhibitions%3D%221098%22
Painting
William H. Macdowell
Thomas Eakins, 1844-1916
Eakins, Thomas
United States
1844 - 1916
Male
24 x 20 in. (61 x 50.8 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
without frame
Oil
Oil
ca. 1904
1899
1909
1900-2000, 20th century, figure, men, paintings, portraits, Realism
Painting
Thomas Eakins painted multiple portraits of his father-in-law, William H. Macdowell. Eakins’s sensitive portraits and genre scenes defined American realist art at the end of the 19th century. His art and commitment to realism were enormously influential to the artists of the Urban Realist movement.
[Gallery label text, 2007]
Thomas Eakins was one of America's greatest painters, whose realistic portrayals of people at work and at play have become icons of American culture. He immortalized many friends and family members by using them as subjects, among them his father-in-law, William Macdowell, an engraver and self-styled philosopher, whom Eakins painted and photographed numerous times. In the Gallery's portrait, Macdowell's aged face, rendered with scrupulous care and detail, emerges from a somber background. In this direct and straightforward manner, Eakins suggests Macdowell's strength of character and distinctive personality.
[Gallery label text]
initialed, verso
1941.26
item
Memorial Art Gallery
9/8/1999
41.26TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
41.26SL
slide
photo of Wm. Macdowell
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
41.26SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
41.26DI1
digital image
Memorial Art Gallery
Imaging complete
6/23/2000
http://127.0.0.1:5000/Media/images/41.26_A1.jpg
41.26DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
41.26SL2
slide
photo of Mr. & Mrs. Wm Macdowell
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
M425_p140.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_p140.tif
M425_p140(10).tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_p140(10).tif
41.26DI#2
digital image
6/4/2012
http://127.0.0.1:5000/Media/images/41.26_A2.jpg
x-ray
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
Composition
Stuart Davis, (Philadelphia, PA, 1892 – 1964, New York, NY)
Davis, Stuart
United States
1892 - 1964
Male
17 1/2 x 19 1/2 in. (44.5 x 49.5 cm)
.
.
.
overall
frame
.
.
.
Oil
Oil
1931
1931
1931
1900-2000, 20th century, Abstract, Modernism, paintings, shape
Painting
upper rightverso, top of stretcher, old stretcher removed for conservation, 1968
1953.24
item
Memorial Art Gallery
9/8/1999
53.24TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.24SL1
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
53.24DI1
digital image
Memorial Art Gallery
Imaging complete
7/13/2000
http://127.0.0.1:5000/Media/images/53.24_A1.jpg
53.24_A2.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/53.24_A2.jpg
56davis4.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/56davis4.tif
Painting
Landscape with Garage Lights
Garage Lights
Stuart Davis, (Philadelphia, PA, 1892 – 1964, New York, NY)
Davis, Stuart
United States
1892 - 1964
Male
32 x 41 7/8 in. (81.3 x 106.4 cm)
.
.
.
overall framed size
horizontal
frame
.
.
.
approximate installation dimensions
frame
.
.
.
without frame
Oil
Oil
1931-1932
1931
1932
1900-2000, 20th century, Abstract, cityscapes, Encyclopedia Britannica Collection, Modernism, paintings
Painting
Stuart Davis began as a student of the Urban Realist style, but upon seeing the many European modernist works on display at the New York Armory Show of 1913, the artist found his passion for abstraction. The influence of the broken-up and flattened surfaces of Cubism and the syncopated rhythms of American jazz contributed to Davis’ personal style.
[Gallery label text, 2007]
Gloucester, one of Massachusetts's oldest seaports, was a summer home for painter Stuart Davis from the time he was a young man of twenty-two. This view of the harbor clearly captivated him by the early 1930s, and preliminary studies of this painting reveal how carefully he considered the scene and translated it into paint, all the while deliberately conveying a sense of simplicity and speed in its execution.
After a Parisian stay in the late 1920s, Davis returned to the United States with a new way of seeing things. The goal for him was to paint an expressive, abstracted version of the world around him, rather than a photographic simulacrum. As modernism challenged the nature of reality and how it is perceived, Davis reminds us here that it is possible to see two sides of a building at once, and that often it really looks like only half of a ship is in the water even though our brains convince us that the other half is hidden behind the fish warehouse. Flatness and simplification of forms were characteristics that distinguished work of influential European painters like Picasso and Matisse, whose work Davis would have encountered during his stay in France.
[Gallery label text, 2006]
yes, lower righton top stretcher memberon vertical cross member, inscription is written vertically down the cross member and the "I" in "Davis" is written horizontally
1951.3
item
Memorial Art Gallery
9/8/1999
51.3TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.3SL1
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
51.3DI1
digital image
Memorial Art Gallery
Imaging complete
7/13/2000
http://127.0.0.1:5000/Media/images/51.3_A1.jpg
51.3SL2
slide
detail-slightly cropped
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.3SL3
slide
photo of old gas pump
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.3DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
56davis1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/56davis1.tif
51.3DI3
digital image
Memorial Art Gallery
Imaging complete
7/13/2000
http://127.0.0.1:5000/Media/images/51.3_A2.jpg
Painting
Unfinished Portrait of Nathaniel Hurd (1729-1777)
John Singleton Copley, (Boston, MA?, 1738 - 1815, London, England)
Copley, John Singleton
United States
1738 - 1815
Male
29 3/8 x 24 5/8 in. (74.6 x 62.5 cm)
.
.
.
frame opening
vertical
.
.
.
approximate installation dimensions
frame
.
.
.
Oil
Oil
ca. 1765
1760
1770
1600-1800, 18th century, artist portraits, artists, Colonial, men, paintings, portraits
Painting
Nathaniel Hurd (1730-1778), silversmith, goldsmith, and engraver, was a member of a distinguished Boston family of silversmiths. In addition to creating a number of silver pieces, he was well-known for his bookplates, which were designed for many distinguished colonial families including Loyalists and a signer of the Declaration of Independence, and were based on heraldic motifs (to which they may or may not have been entitled). Hurd also designed a plate for his own family, as well as bookplates for both Harvard and Dartmouth Colleges. The bookplates provide an unusual link to the social and intellectual climate of the times, and literally speak volumes about sociocultural aspirations of eighteenth-century America.
Hurd was a contemporary of Copley’s. This ca. 1765 portrait, Copley’s first to depict a fellow artisan in working costume, had been preceded by an earlier miniature that Copley had painted of Hurd in 1755.
[Gallery label text, 1996]
removed from stretcher, Now in curatorial fileremoved from stretcher, Now in curatorial file. Old exhibition label, mostly torn away
1944.2
item
Memorial Art Gallery
9/8/1999
44.2TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
44.2SL1
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
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
44.2DI1
digital image
Memorial Art Gallery
Imaging complete
7/10/2000
http://127.0.0.1:5000/Media/images/44.2_A1.jpg
1copley1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/1copley1.tif
44.2DI#2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/44.2_A2.jpg
Painting
Evening Group
George Bellows, 1882 - 1925
Bellows, George
United States
1882 - 1925
Male
25 x 30 in. (63.5 x 76.2 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
.
.
.
overall framed size
frame
Oil
Oil
1914
1914
1914
1900-2000, 20th century, Ashcan School and friends, leisure activities, paintings, Realism, seascapes
Painting
This painting portrays the artist with his wife, Emma, and daughter, Anne, on vacation on Monhegan Island off the coast of Maine. Two neighbor children occupy the right side of the canvas.
[Gallery label text, 2007]
In the summer of 1914, painter George Bellows convinced his wife, Emma, to travel to Monhegan Island off the coast of Maine along with their young daughter, Anne. There, he hoped to paint more of the stunning seascapes he had worked on so successfully in past years. Evening Group depicts Emma and Anne on the left, the artist in the middle, and two neighbor children on the right.
Based in New York City during much of the year, Bellows found that the harsh beauty of places like Monhegan Island provided him with subjects that contrasted dramatically with his acclaimed urban scenes. He first visited the island in 1911 in the company of his teacher and mentor, Robert Henri, and wrote enthusiastically to Emma: “The Island is only a mile wide and two miles long, but it looks as large as the Rocky Mountains. It’s three times as high as Montauk [Long Island] and all black and grey rock. Beautiful pine forests and wonderful varieties of all kinds…” In another letter, he lamented “my head is full of millions of great pictures which I will never have time to paint.”
[Gallery label text, 2005]
lower leftback of panel, Handwritten, capital letters, printed (not script) on back of panel.
1947.13
item
Memorial Art Gallery
9/8/1999
47.13TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
47.13CNEG1
negative
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
47.13SL1
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
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
5x7
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
47.13DI1
digital image
Memorial Art Gallery
Imaging complete
7/10/2000
http://127.0.0.1:5000/Media/images/47.13_A1.jpg
47.13SL2
slide
full with frame
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
47.13SL3
slide
photo in Art & Deocration Magazine 8/1915
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
47.13SL4
slide
full with grid lines
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
42bellows1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/42bellows1.tif
Painting
Colonel Nathaniel Rochester
American artist, (active )
American artist
United States
Primary
Audubon, John James
United States
1785 - 1851
Male
Previous attribution
Previously attributed to
30 x 25 in. (76.2 x 63.5 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
without frame
Oil
Oil
before 1831
1821
1830
1800-1900, 19th century, from Rochester collections, men, New York State & Local History, paintings, portraits
Painting
Long celebrated as our city’s founder, Nathaniel Rochester (1752–1831) was recently discovered to have bought and sold enslaved people while he lived in Maryland. Not only did Rochester buy and sell enslaved people in the South as a business venture, he continued to own and profit from the labor of enslaved individuals after moving north. In fact, he did so until New York State law made it impossible for him to continue in 1827. This information makes evident how insidious and enmeshed slavery was in the business life of the early nineteenth century, even in the northern states.
Many decades before Kodak gave us the snapshot, a portrait such as this one was a way for a privileged, white person of this period to capture their likeness for posterity. In comparison, the enslaved Black men, women, and children of Rochester’s household did not have their portraits painted. Their names, likenesses, and personal stories went largely unrecorded and most have not survived history—another example of the dehumanization of enslaved individuals during this period of American history.
[Gallery label text, 2021]
verso
1934.1
item
Memorial Art Gallery
9/8/1999
34.1TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
34.1SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full back
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full front
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
full front
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
full front
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
full back
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
34.1DI1
digital image
Memorial Art Gallery
Imaging complete
7/10/2000
http://127.0.0.1:5000/Media/images/34.1_A1.jpg
glossy
full front
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
3unknown2.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/3unknown2.tif
M425_p30.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_p30.tif
M425_p30(10).tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_p30(10).tif
M425_p30_270%.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_p30_270%.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/34.1_R2.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/34.1_R1.jpg
34.1DI#2
digital image
8/28/2012
http://127.0.0.1:5000/Media/images/34.1_A2.jpg
Painting
Plant
Kurt K. Feuerherm, (Germany, 1925 - 2019, Pittsford, NY)
Feuerherm, Kurt K.
United States
1925 - 2019
Male
36 x 15 5/8 x 1/8 in. (91.4 x 39.7 x 0.3 cm)
.
.
.
panel
image
.
.
.
overall
frame
Oil
Oil
1954
1954
1954
1900-2000, Arena Group, art with Rochester connections, color, line, paintings, plants & animals, shape
Painting
lower rightverso, Upsidedown
1955.181
item
Memorial Art Gallery
9/8/1999
55.181SL1
slide
2 x 2
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
digital image
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/55.181_I1.jpg
55.181DI#2
digital image
10/16/2013
http://127.0.0.1:5000/Media/images/55.181_A1.jpg
Painting
Semaphore
Kurt K. Feuerherm, (Germany, 1925 - 2019, Pittsford, NY)
Feuerherm, Kurt K.
United States
1925 - 2019
Male
47 x 23 in. (119.4 x 58.4 cm)
.
.
.
Casein and oil, paper and tape
Casein and oil, paper and tape
ca. 1956
1951
1961
1900-2000, 20th century, Arena Group, collage, shape
Painting
1956.6
item
Memorial Art Gallery
9/8/1999
56.6DI1
digital image
5/9/2002
http://127.0.0.1:5000/Media/images/Inventory pictures/56.6_I1.jpg
56.6DI#2
digital image
10/16/2013
http://127.0.0.1:5000/Media/images/56.6_A1.jpg
Painting
Tom Cafferty
Robert Henri, 1865 - 1929
Henri, Robert
United States
1865 - 1929
Male
22 1/4 x 20 1/8 in. (56.5 x 51.1 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
.
.
.
frame
Oil
Oil
1924
1924
1924
1900-2000, 20th century, children, paintings, portraits
Painting
Robert Henri, the leader of the Urban Realist movement, sought truth in art above all else. Henri promoted this revolutionary idea in support of a uniquely American art.
[Gallery label text, 2007]
In addition to providing guidance and inspiration (as well as occasional financial assistance) to many artists, Robert Henri was himself a very fine painter. Wherever he taught, he gathered around him eager and enthusiastic students who benefited from his instruction. He moved to New York in 1900 and taught at William Merritt Chase's school for a few years. In 1909, he established his own school, and also taught painting at the radical Ferrer School established by former Rochesterian Emma Goldman.
Although a member of the National Academy of Design, Henri actively promoted non-juried exhibitions and the work of younger, less traditional artists. Dictums such as "Know what the old masters did…They made their language. You make yours. All the past can help you" gave his followers the confidence to paint in their own way.
During the 1920s, Henri lived in Ireland and painted a young boy named Tom Cafferty, who was the subject of this painting and a number of others. Characteristically, Henri painted him in a very loose and colorful style, with energetic brush strokes.
[Gallery label text, 2003]
lower rightyes, verso
1926.1
item
Memorial Art Gallery
9/8/1999
26.1TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
26.1SL1
slide
full
2 x 2
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
26.1DI1
digital image
Memorial Art Gallery
Imaging complete
7/10/2000
http://127.0.0.1:5000/Media/images/26.1_A1.jpg
26.1DI#2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/26.1_A2.jpg
26.1DI#3
digital image
Detail
00/00/00
http://127.0.0.1:5000/Media/images/26.1_A3.jpg
26.1DI#4
digital image
6/22/2010
http://127.0.0.1:5000/Media/images/26.1_A4.jpg
Painting
The Artist's Studio in an Afternoon Fog
Winslow Homer, (Boston, MA, 1836 - 1910, Prout's Neck, ME)
Homer, Winslow
United States
1836 - 1910
Male
24 x 30 1/4 in. (61 x 76.8 cm)
.
.
.
with frame
frame
Oil
Oil
1894
1894
1894
1800-1900, 19th century, paintings, seascapes, weather & water
Painting
In the course of his long and distinguished career, Winslow Homer shifted his focus from robust descriptions of American life to studies of interaction between man and the powerful forces of nature, particularly the ocean. This evocative painting of his studio at his family’s compound on the coast of Maine in Prout’s Neck, near Portland, is considered one of Homer’s most masterful works.
[Gallery label text, 2007]
A foggy day on the coastal peninsula of Prout's Neck, Maine, inspired Winslow Homer to paint one of his most elegant and contemplative works. His studio and family home stand silhouetted between the darker cliffs in the foreground and the paler sky. The painting's composition balances strong diagonal and horizontal elements in the lower half with a monolithic sky punctuated by a circle of sun.
Homer was known for his many paintings of rural America, as well as his illustrations of the Civil War. In 1883, Homer left New York City, where he had been living, and settled permanently in Prout's Neck. During his years there, he produced some of the most thrilling marine paintings in the history of American art.
[Gallery label text, 2006]
lower rightremoved, kept in file, Exhibition label for Panama-Pacific International Expositionremoved, kept in file
1941.32
item
Memorial Art Gallery
9/8/1999
41.32TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
41.32SL1
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
glossy
detail
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
detail
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
41.32DI1
digital image
Memorial Art Gallery
Imaging complete
6/23/2000
http://127.0.0.1:5000/Media/images/41.32_A1.jpg
41.32SL2
slide
detail-rocks
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
41.32SL3
slide
detail-waves
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
41.32SL4
slide
detail-sun
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
color
1 x 1
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
41.32DI1
digital image
Memorial Art Gallery
Imaging complete
6/23/2000
http://127.0.0.1:5000/Graphics/blank.gif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_p116.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_p116(10).tif
41.32DI#3
digital image
12/4/2013
http://127.0.0.1:5000/Media/images/41.32_A3.jpg
41.32DI#4
digital image
Memorial Art Gallery
Imaging complete
9/19/2019
http://127.0.0.1:5000/Media/images/41.32_A3.jpg
Painting
Early Moonrise in Florida
July Moonrise in Florida (Eastman Catalog)
George Inness, (Newburgh, NY, 1825 – 1894, Bridge of Allan, Scotland)
Inness, George
United States
1825 - 1894
Male
24 3/8 x 36 1/4 in. (61.9 x 92.1 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
without frame
Oil
Oil
ca. 1892-1893
1892
1893
1800-1900, 19th century, George Eastman Collection, landscapes, paintings
Painting
For George Inness, an adherent of the mystical Swedenborgian faith, landscape elements and colors had specific symbolic qualities. For example, he wrote that the moon is a ‘natural emblem of faith,’ reassuring the faithful that divine light still exists even though it is not directly visible in the night sky. In Inness’s philosophical system, blue is the color of faith.
[Gallery label text, 2007]
lower right
1936.61
item
Memorial Art Gallery
9/8/1999
36.61TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
separations
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
36.61SL1
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
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
neg
5x7
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
36.61DI1
digital image
Memorial Art Gallery
Imaging complete
7/10/2000
http://127.0.0.1:5000/Media/images/36.61_A1.jpg
26inness1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/26inness1.tif
36.61DI2
digital image
Memorial Art Gallery
4/17/2014
http://127.0.0.1:5000/Media/images/36.61_A2.jpg
Painting
Sunset
George Inness, (Newburgh, NY, 1825 – 1894, Bridge of Allan, Scotland)
Inness, George
United States
1825 - 1894
Male
18 x 30 1/4 in. (45.7 x 76.8 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
ca. 1883-1884
1883
1884
19th century, dusk, landscape, paintings, sheep, trees in art
Painting
lower left
1951.44
item
Memorial Art Gallery
9/8/1999
51.44SL1
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
digital image
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/51.44_I1.jpg
Painting
Judge and Mrs. Arthur Yates
Conversation Piece
M. M. Manchester, active ca. 1840
Manchester, M. M.
United States
active ca. 1840
Male
36 x 58 3/4 in. (91.4 x 149.2 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
without frame
Oil
Oil
ca. 1840
1835
1845
1800-1900, 19th century, folk art, men, paintings, portraits, women
Painting
This grand portrait might have been a focal point in Judge and Mrs. Yates’s parlor. Judge Yates built the first steam saw mill in Tioga County, and was justice of the peace and postmaster.
Whether the furnishings, book, and clothing accurately depict the Yates’s possessions is impossible to say. They are meant to convince us of the pair’s position within the local gentry. Yards of satiny fabric held in place by a curtain holdback speak of luxury. Mrs. Yates’s jewelry, lace collar, cuffs and trimmed handkerchief, were the accoutrements of a lady of means. Judge Yates holds a book by English theologian William Paley entitled Natural Theology, a text regularly consulted by well-read gentlemen of the 19th century. While we know very little about Mr. Manchester, the artist, we can safely say that he was familiar with the grand tradition of portraiture that frequently placed subjects within ennobling, but not always authentic, settings.
[Gallery label text, 2002]
verso, Visible before relining
1941.30
item
Memorial Art Gallery
9/8/1999
41.30TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
41.30SL1
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
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
41.30DI1
digital image
Memorial Art Gallery
Imaging complete
7/14/2000
http://127.0.0.1:5000/Media/images/41.30_A1.jpg
41.30DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
41.30DI2
digital image
Memorial Art Gallery
Imaging complete
00/00/00
http://127.0.0.1:5000/Media/images/41.30_A2.jpg
Painting
The Birth of a Ghost
Alfred L. Melenbacker, (Rochester, NY, 1920 – 2014, Truro, MA)
Melenbacker, Alfred L.
United States
1920 - 2014
Male
42 x 28 in. (106.7 x 71.1 cm)
.
.
.
Oil
Oil
0
0
20th century, Arena Group, cars, horses, houses, landscape, landscapes, paintings, trees in art
Painting
lower right
1948.18
item
Memorial Art Gallery
9/8/1999
48.18SL1
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
48.18DI1
digital image
5/9/2002
http://127.0.0.1:5000/Media/images/Inventory pictures/48.18_I1.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/48.18_A2.jpg
Painting
The Golden Carnival
Willard L. Metcalf, 1858 - 1925
Metcalf, Willard L.
United States
1858 - 1925
Male
36 x 39 in. (91.4 x 99.1 cm)
.
.
.
overall
frame
.
.
.
without frame
Oil
Oil
1910
1910
1910
1900-2000, 20th century, landscapes, paintings
Painting
lower left
1913.7
item
Memorial Art Gallery
9/8/1999
13.7TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
13.7DI1
digital image
Memorial Art Gallery
Imaging complete
7/14/2000
http://127.0.0.1:5000/Media/images/13.7_A1.jpg
glossy
8 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
4 x 5
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
13.7SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
13.7_A2.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/13.7_A2.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/13.7_R1.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/13.7_R2.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/13.7_R3.jpg
13.7DI#3
digital image
12/4/2013
http://127.0.0.1:5000/Media/images/13.7_A3.jpg
Painting
Jawbone and Fungus (recto); Untitled (Abstraction) (verso)
Georgia O'Keeffe, (Sun Prairie, WI, 1887 - 1986, Santa Fe, NM)
O'Keeffe, Georgia
United States
1887 - 1986
Female
17 x 20 in. (43.2 x 50.8 cm)
.
.
.
approximate installation dimensions
frame
Oil
Oil
1931
1931
1931
1900-2000, 20th century, Encyclopedia Britannica Collection, Modernism, paintings
Painting
With her unique vision and expression, Georgia O’Keeffe epitomizes the modern American artist. Her simple, pared down shapes and closely cropped still-lifes of bones and flowers turn objects into landscapes of their own.
[Gallery label text, 2007]
Painting on the verso, an untitled abstraction, dates to ca. 1923
backing board, Gallery label on backing board.backing board, Gallery label on backing board.backing board, Gallery label from backing board.backing board, Gallery label on backing board.backing board, Gallery label on backing board.backing board, Shipping label on backing board.backing board, Gallery label on backing board.verso
1951.11a-b
item
Memorial Art Gallery
9/8/1999
51.11TR1
Transparency
Memorial Art Gallery
Recto
2 1/4 x 2 3/4
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.11TR2
Transparency
Memorial Art Gallery
Verso
2 1/4 x 2 3/4
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.11SL2
slide
full-verso
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.11SL1
slide
full recto
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full front
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full verso
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full front
5x7
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full front
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full verso
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full verso
3x2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full front
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.11DI1
digital image
Memorial Art Gallery
Recto
Imaging complete
8/4/2000
http://127.0.0.1:5000/Media/images/51.11a_A1.jpg
54okeeffe1.tif
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.11bDI1
digital image
Memorial Art Gallery
Verso
Imaging complete
8/4/2000
http://127.0.0.1:5000/Media/images/51.11b_A1.jpg
54okeeffe2.tif
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
Spring through the Willows
William C. Palmer, 1906 - 1987
Palmer, William C.
United States
1906 - 1987
Male
31 1/2 x 40 3/4 in. (80 x 103.5 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
1957
1957
1957
20th century, Abstract, paintings, spring, trees in art
Painting
Early in his career, William Palmer was a muralist for the WPA, earning $24 a week for his hospital and post office commissions. He went on to found the School of Art at the Munson-Williams-Proctor Arts Institute in Utica, and became a highly regarded painter of colorful, abstract New York landscapes.
[Label text from It Came From the Vault exhibition, 2013]
lower centerback of stretcherback of stretcher
1958.17
item
Memorial Art Gallery
9/8/1999
58.17SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
58.17DI1
digital image
5/9/2002
http://127.0.0.1:5000/Media/images/Inventory pictures/58.17_I1.jpg
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
negative
details
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
58.17DI#2
digital image
Front
8/21/2012
http://127.0.0.1:5000/Media/images/Inventory pictures/58.17_I2.jpg
58.17DI#3
digital image
1/30/2013
http://127.0.0.1:5000/Media/images/58.17_A1.jpg
Painting
Seascape - Dubrovnik
Svetozar Radakovich, 1918 - 1998
Radakovich, Svetozar
United States
1918 - 1998
Male
35 3/4 x 48 in. (90.8 x 121.9 cm)
.
.
.
without frame
.
.
.
overall
frame
Mixed media
Mixed media
1956
1956
1956
20th century, Arena Group, mixed media, seascapes
Painting
lower right
1956.64
item
Memorial Art Gallery
9/8/1999
negative
4 x 5
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
56.64DI1
digital image
4/24/2002
http://127.0.0.1:5000/Media/images/Inventory pictures/56.64_I1.jpg
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
56.64DI2
digital image
8 x 10
00/00/00
http://127.0.0.1:5000/Media/images/56.64_A1.jpg
56.64DI#3
digital image
6/14/2011
http://127.0.0.1:5000/Media/images/56.64_A2.jpg
Painting
Porto Rico
Henry Ward Ranger, (New York, NY, 1858 - 1916, New York, NY)
Ranger, Henry Ward
United States
1858 - 1916
Male
11 1/2 x 15 1/2 in. (29.2 x 39.4 cm)
.
.
.
.
.
.
approximate installation dimensions
frame
Oil
Oil
0
0
19th century, by Rochester artists, houses, paintings, perspective, shadow
Painting
lower left, in a monogram
1952.61
item
Memorial Art Gallery
9/8/1999
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
52.61SL1
slide
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/Inventory pictures/52.61_I1.jpg
Painting
Louise Weiland Shakespeare (Mrs. William Shakespeare)
John Singer Sargent, 1856 - 1925
Sargent, John Singer
United States
1856 - 1925
Male
29 3/8 x 24 1/2 in. (74.6 x 62.2 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
Oil
Oil
circa 1896
1891
1901
1900-2000, 20th century, figure, paintings, portraits, women
Painting
John Singer Sargent was the most fashionable portrait painter working in England and the United States in the late 1800s. He was not only a gifted artist, but an accomplished pianist and linguist. The novelist Henry James once remarked that London society at the turn of the century saw John Singer Sargent and his friends “…all swimming just now in a sea of music,” with Sargent being “as much a player as a painter.”
The sitter of this portrait, Louise Weiland (c. 1850–1911), was brought up at the court of Dresden, Germany. She married the British singer, composer, and conductor William Shakespeare, one of Sargent’s closest friends, in 1875. Mrs. Shakespeare was best known for the musical salons she held in her London home, which brought together artists, musicians, and members of high society. She was described by her friend Eva Ducat as a quiet woman who “hid brilliant gifts under a gentle, deprecating manner.” According to Ducat, Sargent tried to capture Mrs. Shakespeare’s characteristic wistful expression by telling her sad stories as he painted her portrait.
[Forman Gallery, Summer 2015]
upper rightupper left
1957.14
item
Memorial Art Gallery
9/8/1999
57.14TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
57.14SL1
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
glossy
full
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
5 x 7
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
57.14DI1
digital image
Memorial Art Gallery
Imaging complete
7/10/2000
http://127.0.0.1:5000/Media/images/57.14_A1.jpg
Painting
Russell Sturgis (1750 - 1826)
Gilbert Stuart, (Saunderstown RI, 1757 - 1828, Boston)
Stuart, Gilbert
United States
1757 - 1828
Male
28 3/4 x 24 1/8 in. (73 x 61.3 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
without frame
Oil
Oil
ca. 1806
1801
1811
1800-1900, 19th century, artist portraits, artists, men, paintings, portraits
Painting
Gilbert Stuart was known for his portraits of George Washington – including the one on the dollar bill.
[Gallery label text, 2007]
1941.34
item
Memorial Art Gallery
9/8/1999
41.34TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
41.34SL1
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
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
41.34DI1
digital image
Memorial Art Gallery
Imaging complete
7/10/2000
http://127.0.0.1:5000/Media/images/41.34_A1.jpg
41.34SL2
slide
xray of damage
2 x 2
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
Elizabeth Perkins Sturgis (1756 - 1843)
Gilbert Stuart, (Saunderstown RI, 1757 - 1828, Boston)
Stuart, Gilbert
United States
1757 - 1828
Male
28 3/4 x 23 1/8 in. (73 x 58.7 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
without frame
Oil
Oil
ca. 1806
1801
1811
1800-1900, 19th century, paintings, portraits, women
Painting
Gilbert Stuart was known for his portraits of George Washington – including the one on the dollar bill.
[Gallery label text, 2007]
1941.35
item
Memorial Art Gallery
9/8/1999
41.35TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
41.35SL1
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
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
41.35DI1
digital image
Memorial Art Gallery
Imaging complete
7/13/2000
http://127.0.0.1:5000/Media/images/41.35_A1.jpg
41.35TR2
transparency
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
Troupers
Karl Zerbe, (Berlin, Germany, 1903 - 1972, Tallahassee, FL)
Zerbe, Karl
United States
1903 - 1972
Male
31 x 36 in. (78.7 x 91.4 cm)
.
.
.
overall
frame
.
.
.
Encaustic
Encaustic
1943
1943
1943
1900-2000, 20th century, Encyclopedia Britannica Collection, jobs & work, paintings
Painting
lower left
1951.14
item
Memorial Art Gallery
9/8/1999
51.14SL1
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
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.14DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/51.14_A1.jpg
Sculpture
The Little Cloud
William Ehrich, 1897 - 1960
Ehrich, William
United States
1897 - 1960
Male
14 x 10 1/2 x 3 1/2 in. (35.6 x 26.7 x 8.9 cm)
.
.
.
Stone
Stone
1952
1952
1952
20th century, Arena Group, by Rochester artists, female figures, nudes, reliefs
Sculpture
right side
Roger W. Ehrich
1953.26
item
Memorial Art Gallery
9/8/1999
53.26SL1
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
negative
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
53.26DI#1
digital image
4/4/2008
http://127.0.0.1:5000/Media/images/Inventory pictures/53.26_I1.jpg
53.26DI#2
digital image
7/29/2008
http://127.0.0.1:5000/Media/images/53.26_A1.jpg
Sculpture
Abraham, Abraham
Luise Kaish, 1925 - 2013
Kaish, Luise
United States
1925 - 3/7/2013
Female
33 3/4 in. (85.7 cm)
.
.
.
Bronze
Bronze
1958
1958
1958
20th century, men, Old Testament figures & stories, sculpture
Sculpture
on back
1958.9
item
Memorial Art Gallery
9/8/1999
58.9SL1
slide
full
2 x 2
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
negative
4 x 6
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
58.9DI#1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/58.9_A1.jpg
Sculpture
Eagle
American artist, (active )
American artist
United States
Primary
30 x 21 in. (76.2 x 53.3 cm)
.
.
.
Pine
Pine
ca. 1790
1785
1795
1600-1800, 18th century, birds, folk art, sculpture
Sculpture
1957.75
item
Memorial Art Gallery
9/8/1999
57.75TR1
Transparency
Memorial Art Gallery
3/4 view
2 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full
5 x 7
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
negative
full
5 x 7
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
57.75DI1
digital image
Memorial Art Gallery
3/4 view
Imaging complete
6/19/2001
http://127.0.0.1:5000/Media/images/57.75_A1.jpg
negative
2 x 3
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
57.57SL1
slide
full front
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
57.75SL2
slide
full- 3/4
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
57.75SL3
slide
detail
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
57.75DI2
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/57.75_A2.jpg
Print
Piazzo San Marco
Frank Duveneck, 1848 - 1919
Duveneck, Frank
United States
1848 - 1919
Male
13 3/8 x 10 15/16 in. (34 x 27.8 cm)
.
.
.
plate
Printer's ink
Printer's ink
1883
1883
1883
1800-1900, 19th century, etchings, Munich school, shadow, Venice, Italy
Print
lower right, in the plate, FD 1883lower right, below plate
1941.5
item
Memorial Art Gallery
9/8/1999
41.5SL1
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
41.5DI1
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/41.5_A1.jpg
Jewelry
Pendant
Svetozar Radakovich, 1918 - 1998
Radakovich, Svetozar
United States
1918 - 1998
Male
16 1/2 x 2 3/4 in. (41.9 x 7 cm)
.
.
.
overall
Silver
Silver
1956
1956
1956
Arena Group
Jewelry
back of main piece
1958.133
item
Memorial Art Gallery
9/8/1999
58.133TR1
transparency
2.5 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
58.133SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full
3 x 3
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
3 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
58.133DI1
digital image
2.5 x 3
00/00/00
http://127.0.0.1:5000/Media/images/58.133_A1.jpg
Drawing
A Summer Day
William Merritt Chase, 1849 - 1916
Chase, William Merritt
United States
1849 - 1916
Male
16 1/8 x 20 in. (41 x 50.8 cm)
.
.
.
.
.
.
overall framed size
frame
Pastel
Pastel
ca. 1892
1887
1897
1800-1900, 19th century, drawing, landscapes, summer
Drawing
Painter William Merritt Chase and his family summered in a home built for them by the distinguished architect Stanford White in Shinnecock Hills. In that small community near Southampton, Long Island, Chase had established a summer school of art. Hundreds of students convened in the region from 1891 - 1902, dotting the landscape with their easels as they attempted to capture on canvas the truth of nature en plein air ("in the open air").
Typical of this period are the artist's paintings and drawings of his three young daughters exploring the landscape near their vacation retreat. High-keyed summery colors and rapid Impressionistic strokes convey the brilliance of the sky, the wildflowers and the ocean.
[Gallery label text]
lower left
1951.42
item
Memorial Art Gallery
9/8/1999
51.42TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.42SL1
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
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.42DI1
digital image
Memorial Art Gallery
Imaging complete
8/28/2000
http://127.0.0.1:5000/Media/images/51.42_A1.jpg
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
http://127.0.0.1:5000/Graphics/blank.gif
53.6SL1
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
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
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
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
Drawing
The End of the Workday (La fin de la journée)
Jean François Millet, 1814 - 1875
Millet, Jean François
France
1814 - 1875
Male
29 1/4 x 37 x 3/4 in. (74.3 x 94 x 1.9 cm)
.
.
.
overall
sheet
.
.
.
overall
frame
Pastel
Pastel
1865-1870
1865
1870
1800-1900, 19th century, drawing, genre scenes, George Eastman Collection, jobs & work, landscapes, men
Drawing
On one of their many long, evening walks, Millet said to his brother Pierre: “It is astonishing toward the approach of night, how grand everything on the plain appears, especially when we see figures thrown out against the sky. Then they look like giants.”
The End of the Workday showcases Millet’s fascination with the hour of twilight, which moved him by its power to transform human and other natural forms into strange shapes, evocative of dreams. The pastel, which shows a peasant silhouetted against the fading sky, putting on his jacket after a day of labor, is classic Millet. Best known as a painter of peasants, a politically and socially complex subject matter in France of the 1800s, his scenes of rural life focused on the human figure as much if not more than the landscape.
[Label text from It Came From the Vault exhibition, 2013]
lower right
1936.74
item
Memorial Art Gallery
4/24/2001
36.74TR1
transparency
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
36.74SL1
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
neg
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
neg
3x2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
36.74DI1
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/36.74_A1.jpg
36.74DI#2
digital image
11/28/2012
http://127.0.0.1:5000/Media/images/36.74_A2.jpg
Print
Wild Horse (Cheval Sauvage)
Eugene Delacroix, 1798 - 1863
Delacroix, Eugène
France
1798 - 1863
Male
14 3/16 x 10 11/16 in. (36 x 27.1 cm)
.
.
.
plate
image
.
.
.
sheet
Printer's ink
Printer's ink
ca. 1828
1823
1833
1800-1900, 19th century, horses, lithographs
Print
lower left, in imagelower center, below imageupper center, above imagelower left, in imagelower left, below image
1948.14
item
Memorial Art Gallery
5/1/2001
48.14SL1
slide
2 x 2
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
48.14DI#1
digital image
full
6/13/2006
http://127.0.0.1:5000/Media/images/48.14_A1.jpg