8
Exhibitions%3D%22162%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)
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approximate installation dimensions
frame
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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
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Memorial Art Gallery
9/8/1999
41.26TR1
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Memorial Art Gallery
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Memorial Art Gallery
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6/23/2000
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photo of Mr. & Mrs. Wm Macdowell
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M425_p140(10).tif
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41.26DI#2
digital image
6/4/2012
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x-ray
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Painting
Trial Scene
David Gilmour Blythe, 1815 - 1865
Blythe, David Gilmour
United States
1815 - 1865
Male
22 1/4 x 27 in. (56.5 x 68.6 cm)
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approximate installation dimensions
frame
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without frame
Oil
Oil
ca. 1862-1863
1862
1863
1800-1900, 19th century, genre scenes, men, paintings, politics in art
Painting
Blythe’s painting shows a scene of frontier justice in a rough building serving as a courtroom. A backwoods “lawyer” at the center either defends or makes his case against a shackled prisoner at the right. However, some elements of the scene, including the onlookers—some armed with long guns, some distracted by a card game—and the pot and sack at the lower left labelled “tar” and “feathers,” reveal that this is an extrajudicial proceeding. The prisoner whittles unconcernedly while his fate is decided, suggesting that this is a typically satirical genre scene for Blythe, who made other paintings of farcical trials and caricatured politics.
[Gallery label text, 2019]
verso, Exhibition label, removed from painting and now stored in object file.illegible, lower left, Letters from the dealers and the permanent collection worksheet done in 6/78 claim that it is signed, but it is very difficult to read now.
1941.24
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Memorial Art Gallery
9/8/1999
41.24TR1
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Memorial Art Gallery
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Memorial Art Gallery
Imaging complete
7/10/2000
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detail
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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)
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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
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Memorial Art Gallery
Imaging complete
6/23/2000
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digital image
Memorial Art Gallery
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6/23/2000
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41.32DI#3
digital image
12/4/2013
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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
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)
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approximate installation dimensions
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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
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digital image
Memorial Art Gallery
Imaging complete
7/14/2000
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Memorial Art Gallery
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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)
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approximate installation dimensions
frame
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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
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Memorial Art Gallery
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57.14DI1
digital image
Memorial Art Gallery
Imaging complete
7/10/2000
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Painting
Election Night
John Sloan, 1871 - 1951
Sloan, John
United States
1871 - 1951
Male
26 3/8 x 32 1/4 in. (67 x 81.9 cm)
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Oil
Oil
1907
1907
1907
1900-2000, 20th century, Ashcan School and friends, movement, paintings, politics in art
Painting
This scene, nearly unintelligible in its crowding and confusion, is Sloan’s celebration of the furor of the city on election night.
[Gallery label text, 2007]
John Sloan met Robert Henri in Philadelphia, and from early on maintained a friendship and correspondence with him until Henri died in 1929. He moved to New York City at Henri’s urging.
On November 5, 1907, he wrote: “Election Day… saw the noisy trumpet blowers, confetti throwers and the 'ticklers' in use - a small feather duster on a stick which is pushed in the face of each girl by the men, and in the face of men by the girls. A good humorous crowd, so dense in places that it was impossible to control one's movement.” The location, Herald Square at 34th and Broadway, was close by the New York Herald Building as well as Macy's. The elevated railroad tracks loomed overhead, increasing the suggestion of noise and activity in the scene.
Sloan included Election Night as one of his entries in the 1908 exhibition at Macbeth Gallery. In his estimation, it was “…one of my best things. So that I felt happy in the evening, that good all over feeling that only comes from satisfaction in work - the real happiness, the joy of accomplishing or thinking that one has accomplished, which amounts to the same thing.”
[Gallery label text, 2003]
lower left
1941.33
item
Memorial Art Gallery
9/8/1999
41.33TR1
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Memorial Art Gallery
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Memorial Art Gallery
Imaging complete
7/10/2000
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detail- lady in red
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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)
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approximate installation dimensions
frame
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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
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Memorial Art Gallery
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digital image
Memorial Art Gallery
Imaging complete
7/10/2000
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41.34SL2
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xray of damage
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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)
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approximate installation dimensions
frame
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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
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Memorial Art Gallery
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digital image
Memorial Art Gallery
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7/13/2000
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