98
Portfolios%20%3D%20%222070%22%20and%20Period%20%3D%20%22%22
Painting
Interlude
The Lute Players
Maxfield Parrish, 1870 - 1966
Parrish, Maxfield
United States
1870 - 1966
Male
84 x 60 in. (213.4 x 152.4 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
.
.
.
with frame
object
Oil
Oil
1922
1922
1922
1900-2000, 20th century, from Rochester collections, musical instruments (depictions), paintings, women
Painting
Maxfield Parrish, leading illustrator and muralist of the early twentieth century, painted Interlude to hang at the Eastman Theatre in Rochester. Through architect Lawrence Grant White, George Eastman commissioned three murals for the theater, which served as both silent movie palace and philharmonic hall. Interlude was Eastman’s favorite, a “peacherina,” he wrote White.
The radiant quality of Interlude is due to Parrish’s high technical standards and theatrical sense of color—electrical reds, vivid purples, and lush apricots. A shade of cobalt straight from the tube was applied so ingeniously that it became known as “Parrish blue.” He painted glaze upon glaze to create a hard photographic finish that betrayed no brush strokes.
Interlude was moved to the Memorial Art Gallery in 1997 to provide it with more stable temperature and humidity conditions. In its place at the Eastman Theatre is a full-size color reproduction.
Elizabeth Brayer, George Eastman Historian
[Summer 2015]
lower right
5.1997L
item
Memorial Art Gallery
6/1/2000
5.97LTR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
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5.97LSL1
slide
full
2 x 2
00/00/00
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5.97LDI1
digital image
Memorial Art Gallery
Imaging complete
6/19/2001
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5.97LDI2
digital image
00/00/00
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5.97LDI3
digital image
00/00/00
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digital image
00/00/00
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digital image
00/00/00
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5.97LDI#4
digital image
6/4/2012
http://127.0.0.1:5000/Media/images/5.97L_A4.jpg
Musical Instrument
Organ
Italian artist
Italian artist
Italy
Primary
ca. 1670-1770
1670
1770
musical instruments
Musical Instrument
5.2005L
item
Memorial Art Gallery
7/25/2005
5.2005LDI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/5.2005L_A1.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/5.2005L_A2.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/5.2005L_A3.jpg
5.2005LDI#4
digital image
6/4/2012
http://127.0.0.1:5000/Media/images/5.2005L_A4.jpg
Sculpture
Memory
William Ordway Partridge, (Paris, France, 1861 - 1930, New York, NY)
Partridge, William Ordway
United States
1861 - 1930
Male
82 1/2 x 26 3/4 x 29 5/8 in. (209.6 x 67.9 x 75.2 cm)
.
.
.
overall
.
.
.
overall
Marble
Marble
1914
1914
1914
1900-2000, 20th century, allegories, from Rochester collections, sculpture, women
Sculpture
back, at bottom
1913.12
item
Memorial Art Gallery
9/8/1999
13.12TR1
Transparency
Memorial Art Gallery
Front
4 x 5
00/00/00
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13.12DI1
digital image
Memorial Art Gallery
Front
Imaging complete
2/1/2001
http://127.0.0.1:5000/Media/images/13.12_A1.jpg
glossy
8 x 10
00/00/00
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glossy
4 x 5
00/00/00
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negative
4 x 5
00/00/00
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13.12SL2
slide
full-without base
2 x 2
00/00/00
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13.12SL1
slide
full-with base
2 x 2
00/00/00
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13.12SL3
slide
detail-base Averill
2 x 2
00/00/00
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13.12SL4
slide
instalation in orig gallery
2 x 2
00/00/00
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glossy
installation
5 x 7
00/00/00
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13.12DI2
archival
digital image
2/8/2006
http://127.0.0.1:5000/Media/images/related_images/13.12_R1.jpg
44partridge1.tif
digital image
00/00/00
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44partridge1(10).tif
digital image
00/00/00
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44partridge3.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/44partridge3.tif
pdf file
00/00/00
http://127.0.0.1:5000/Media/images/surrogates/pdf/13.12_R2.pdf
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/Partridge_contract_p1_fromRBSC.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/Partridge_contract_p2_fromRBSC.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/13.12_R3.tif
Painting
Oxen on the Beach
Joaquin Sorolla y Bastida, (Valencia, Spain, 1863 – 1923, Madrid)
Sorolla y Bastida, Joaquin
Spain
1863 - 1923
Male
29 x 43 in. (73.7 x 109.2 cm)
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.
approximate installation dimensions
frame
Oil
Oil
1910
1910
1910
1900-2000, 20th century, men, oxen, paintings, seascapes
Painting
Sorolla discovered Impressionism during an 1885 visit to Paris and took its revolutionary approach to light and color back to Spain with him. There he developed his own style, characterized by large, strong brushstrokes, and soon his international reputation was established. Sorolla's special ability to render the play of bright sunlight on the sea, on sand, and on figures along the beach has been praised by critics. "Oxen on the Beach," which features all three surfaces, is a brilliant display of Sorolla's talents.
[adapted from gallery label text, 1999]
lower right
1914.8
item
Memorial Art Gallery
1/17/2001
14.8TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
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http://127.0.0.1:5000/Graphics/blank.gif
negative
4 x 5
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14.8SL1
slide
full
2 x 2
00/00/00
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14.8DI1
digital image
6/28/2002
http://127.0.0.1:5000/Media/images/14.8_A1.jpg
14.8DI2
digital image
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/related_images/14.8_R1.jpg
Painting
The White Bridge
John Henry Twachtman, 1853 - 1902
Twachtman, John Henry
United States
1853 - 1902
Male
30 1/4 x 25 1/8 in. (76.8 x 63.8 cm)
.
.
.
overall framed size
frame
.
.
.
without frame
Oil
Oil
ca. 1900
1895
1905
1900-2000, 20th century, bridges, Cos Cob colony, landscapes, paintings, seascapes
Painting
Impressionism, a radically modern style upon its inception in France in the 1860s, came late to American shores. The Impressionist artist sought to capture impressions of light, color, and shape in a spontaneous way.
[Gallery label text, 2007]
John Twachtman’s finest paintings were inspired by the beauty of the land on which he lived with his family. Located in Greenwich, Connecticut, the picturesque property included a portion of Horseneck Brook, across which Twachtman built an ornamental but functional footbridge. Here, his children swam in the summer and rowed their boat beneath the bridge’s arched deck. The bridge may have been inspired by similar structures in Venice, where the artist lived in the 1880s and 90s.
Twachtman was one of America’s premier impressionist painters and a founding member of the Ten American Painters, a group that included Thomas Dewing and William Merritt Chase, artists whose works are also on view at MAG. The White Bridge’s bright colors, energetic brushwork, and light-filled canvas link Twachtman’s work with that of French impressionist Claude Monet.
[Gallery label text, 2004]
lower right
1916.9
item
Memorial Art Gallery
9/8/1999
16.9TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
16.9DI2
digital image
Memorial Art Gallery
8/25/2001
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
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negative
4 x 5
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8 x 10
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16.9SL1
slide
full
2 x 2
00/00/00
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16.9DI1
digital image
Memorial Art Gallery
Imaging complete
8/28/2000
http://127.0.0.1:5000/Media/images/16.9_A1.jpg
M425_p135.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_p135.tif
M425_p135(10).tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_p135(10).tif
Print
The Ships
Maurice Prendergast, 1858 - 1924
Prendergast, Maurice
United States
1858 - 1924
Male
15 3/8 x 10 15/16 in. (39.1 x 27.8 cm)
.
.
.
image
vertical
image
.
.
.
sheet
Oil
Oil
ca. 1895-1897
1895
1897
1800-1900, 19th century, Ashcan School and friends, boats, monotypes, seascapes
Print
lower right, in the plate
1919.29
item
Memorial Art Gallery
9/8/1999
19.29TR2
Transparency
Memorial Art Gallery
2 x 2 3/4
00/00/00
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19.29TR1
transparency
4 x 5
00/00/00
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19.29SL1
slide
full
2 x 2
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glossy
1.5 x 1.5
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2 x 2
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glossy
5 x 7
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negative
5 x 7
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glossy
8 x 10
00/00/00
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19.29DI2
digital image
Memorial Art Gallery
Imaging complete
2/20/2001
http://127.0.0.1:5000/Media/images/19.29_A1.jpg
M425_p128.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_p128.tif
M425_p128(10).tif
digital image
00/00/00
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digital image
00/00/00
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digital image
00/00/00
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19.29DI3
digital image
Memorial Art Gallery
2/20/2001
http://127.0.0.1:5000/Media/images/19.29_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
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glossy
5 x 7
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5 x 7
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4 x 5
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glossy
8 x 10
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24.38SL2
slide
detail
2 x 2
00/00/00
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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
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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
Ceramics
Black-Figure Kylix with Dionysian Revelers
Greek artist, (active )
Greek artist
Greece
Primary
3 1/8 x 10 1/4 x 9 1/16 in. (8 x 26.1 x 23 cm)
.
.
.
overall
overall
Terracotta
Terracotta
6th Century BCE
600 BCE
501 BCE
kylikes, AAT
1000 BCE - 500 CE, ceramics, Greek, kylix
Ceramics
1929.90
item
Memorial Art Gallery
2/4/2001
29.90SL1
slide
full-outside rim
2 x 2
00/00/00
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glossy
side view
8 x 10
00/00/00
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glossy
top view
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
details
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
details
4 x 5
00/00/00
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negative
side view
4 x 5
00/00/00
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29.90SL3
slide
full-inside view
2 x 2
00/00/00
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29.90SL2
slide
detail-handle end
2 x 2
00/00/00
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29.90DI3donotuse
digital image
full-inside view
00/00/00
http://127.0.0.1:5000/Media/images/29.90_A5.jpg
29.90DI2donotuse
digital image
detail-handle end
2 x 2
00/00/00
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29.90DI1
digital image
Memorial Art Gallery
full
Imaging Complete
00/00/00
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29.90DI4
digital image
Memorial Art Gallery
detail
Imaging Complete
00/00/00
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29.90DI5
digital image
Memorial Art Gallery
detail
Imaging Complete
00/00/00
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29.90DI6
digital image
Memorial Art Gallery
detail
Imaging Complete
00/00/00
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29.90DI7
digital image
00/00/00
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digital image
00/00/00
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29.90DI#8
digital image
9/29/2009
http://127.0.0.1:5000/Media/images/29.90_A7.jpg
29.90DI#9
digital image
Side
9/29/2009
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29.90DI#10
digital image
Side
9/29/2009
http://127.0.0.1:5000/Media/images/29.90_A9.jpg
29.90DI#11
digital image
interior
3/18/2010
http://127.0.0.1:5000/Media/images/29.90_A10.jpg
29.90DI#12
digital image
Side
3/18/2010
http://127.0.0.1:5000/Media/images/29.90_A11.jpg
29.90DI#13
digital image
Side
3/18/2010
http://127.0.0.1:5000/Media/images/29.90_A12.jpg
29.90DI#14
digital image
Detail
3/18/2010
http://127.0.0.1:5000/Media/images/29.90_A13.jpg
29.90DI#15
digital image
Detail
3/18/2010
http://127.0.0.1:5000/Media/images/29.90_A14.jpg
29.90DI#16
digital image
Detail
3/18/2010
http://127.0.0.1:5000/Media/images/29.90_A15.jpg
29.90DI#17
digital image
Detail
3/18/2010
http://127.0.0.1:5000/Media/images/29.90_A16.jpg
29.90DI#18
digital image
Detail
3/18/2010
http://127.0.0.1:5000/Media/images/29.90_A17.jpg
29.90DI#19
digital image
Detail
3/18/2010
http://127.0.0.1:5000/Media/images/29.90_A18.jpg
pdf file
00/00/00
http://127.0.0.1:5000/Media/images/surrogates/pdf/BerkeleyGuide.pdf
Textiles
Tapestry: Trellised Garden with Animals
Workshop of Wilhelm de Pannemaker, active 1535-1578
Pannemaker, Wilhelm de
Flanders
Male
147 x 182 in. (373.4 x 462.3 cm)
.
.
.
Wool
Wool
ca. 1565-1575
1565
1575
1400-1600, birds, Renaissance & Baroque, tapestry, textiles
Textiles
1931.15
item
Memorial Art Gallery
5/12/2001
31.15SL1
slide
full in Fountain Court
2 x 2
00/00/00
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31.15SL2
slide
detail- hare
2 x 2
00/00/00
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glossy
8 x 10
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negative
8 x 10
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31.15SL3
slide
detail- Lion
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
31.15DI1
digital image
Detail
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/31.15_A1.jpg
31.15DI2
digital image
detail
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/31.15_A2.jpg
31.15DI3
digital image
full
00/00/00
http://127.0.0.1:5000/Media/images/31.15_A3.jpg
31.15_I1.jpg
digital image
00/00/00
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31.15_I2.jpg
digital image
00/00/00
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31.15_I3.jpg
digital image
00/00/00
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31.15_I4.jpg
digital image
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31.15_I5.jpg
digital image
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31.15_I6.jpg
digital image
00/00/00
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31.15_I7.jpg
digital image
00/00/00
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31.15_I8.jpg
digital image
00/00/00
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31.15_I9.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/31.15_I9.jpg
31.15DI#4
digital image
2/24/2011
http://127.0.0.1:5000/Media/images/31.15_A4.jpg
31.15DI#5
digital image
Detail
4/22/2011
http://127.0.0.1:5000/Media/images/31.15_A5.jpg
31.15DI#6
digital image
Detail
4/22/2011
http://127.0.0.1:5000/Media/images/31.15_A6.jpg
31.15DI#7
digital image
Detail
4/22/2011
http://127.0.0.1:5000/Media/images/31.15_A7.jpg
31.15DI#8
digital image
Detail
4/22/2011
http://127.0.0.1:5000/Media/images/31.15_A8.jpg
31.15DI#9
digital image
Detail
4/22/2011
http://127.0.0.1:5000/Media/images/31.15_A9.jpg
31.15DI#10
digital image
Detail
4/22/2011
http://127.0.0.1:5000/Media/images/31.15_A10.jpg
31.15DI#11
digital image
Detail
4/22/2011
http://127.0.0.1:5000/Media/images/31.15_A11.jpg
31.15DI#12
digital image
Detail
4/22/2011
http://127.0.0.1:5000/Media/images/31.15_A12.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
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31.21TR1
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4 x 5
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31.21DI1
digital image
00/00/00
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31.21DI#2
digital image
6/4/2012
http://127.0.0.1:5000/Media/images/31.21_A2.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
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separations
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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
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
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38.28SL2
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38.28SL3
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38.28SL4
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38.28SL5
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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
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38.28SL7
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38.28DI5
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with frame
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38.28DI5
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with frame
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38.28DI5
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Detail Virgin and Child
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38.28DI6
digital image
Detail Child
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38.28DI6
digital image
Detail background apparition
00/00/00
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38.28DI5
digital image
Detail At. Hyacinth
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38.28DI5
digital image
Detail St. Hyacinth's hand
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x-ray
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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
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41.26SL
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photo of Wm. Macdowell
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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
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photo of Mr. & Mrs. Wm Macdowell
2 x 2
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M425_p140.tif
digital image
00/00/00
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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
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
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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
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detail-rocks
2 x 2
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Memorial Art Gallery
Imaging complete
6/23/2000
http://127.0.0.1:5000/Graphics/blank.gif
digital image
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http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_p116.tif
digital image
00/00/00
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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
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)
.
.
.
approximate installation dimensions
frame
.
.
.
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
4 x 5
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41.33SL2
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2 x 2
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41.33DI1
digital image
Memorial Art Gallery
Imaging complete
7/10/2000
http://127.0.0.1:5000/Media/images/41.33_A1.jpg
41.33SL3
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detail- lady in red
2 x 2
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41.33SL4
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detail-man with false nose
2 x 2
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41.33SL5
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detail-streetlight
2 x 2
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36sloan1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/36sloan1.tif
Painting
Sullivan Street
Everett Shinn, 1876 - 1953
Shinn, Everett
United States
1876 - 1953
Male
8 x 10 in. (20.3 x 25.4 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
without frame
Oil
Oil
1900-1905
1900
1905
1900-2000, 20th century, Ashcan School and friends, cityscapes, paintings, winter
Painting
In a city of many tough neighborhoods, New York’s Sullivan Street was one of the toughest. Shinn’s depiction of the isolated figure in the foreground evokes the condition of modern man in an urban environment—a recurring theme in the art of the Urban Realists.
[Gallery label text, 2007]
In 1897, encouraged by his mentor Robert Henri, Shinn moved from Philadelphia to New York City. Like Luks and Glackens, he was an artist-reporter as well as a painter. He exhibited with The Eight in 1908 at Macbeth Gallery. Sullivan Street was owned by the artist until 1945, when the Memorial Art Gallery purchased the canvas directly from him.
With just a few strokes of his brush, Everett Shinn has recreated an overcast winter street scene filled with mood and mystery. Sullivan Street is in Greenwich Village, around the corner from Shinn's studio on Waverly Place and near Washington Square Park, whose leafless trees can be seen beyond the buildings on the right.
[Gallery label text, 2003]
lower left
1945.45
item
Memorial Art Gallery
9/8/1999
45.45TR1
transparency
4 x 5
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45.45DI1
digital image
Memorial Art Gallery
Imaging complete
8/3/2000
http://127.0.0.1:5000/Media/images/45.45_A1.jpg
45.45DI2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/45.45_A2.jpg
32shinn1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/32shinn1.tif
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
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2 x 2
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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
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47.13SL3
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photo in Art & Deocration Magazine 8/1915
2 x 2
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47.13SL4
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full with grid lines
2 x 2
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42bellows1.tif
digital image
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
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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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49.63DI3
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6/10/2009
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49.63DI#4
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6/10/2009
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49.63DI#5
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6/10/2009
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x-ray
00/00/00
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49.63DI6
digital image
Back of panel
7/10/2007
http://127.0.0.1:5000/Media/images/Inventory pictures/49.63_I4.JPG
Sculpture
Console with Doubting Thomas
French artist, (active )
French artist
France
Primary
24 x 17 11/16 x 18 1/2 in. (61 x 45 x 47 cm)
.
.
.
overall
overall
Limestone
Limestone
French; made for Candes-Saint-Martin, Indre-et-Loire
early 13th century
1200
1232
1000-1400, Christ, Medieval, sculpture, St. Peter, Thomas
Sculpture
This early Gothic console originally supported a vaulting rib in the sacristy of the small French church of St. Martin-de-Candes. The sculpture, which retains much of its original coloring, illustrates the story of Doubting Thomas, an episode described in the New Testament gospel book of John. The apostle Thomas refused to accept that Christ had appeared to his other followers after the Resurrection, saying “Unless I see the nail marks in his hands and put my finger where the nails were, and put my hand into his side, I will not believe it.” Christ appeared to them again one week later and told Thomas “Put your finger here; see my hands. Reach out your hand and put it into my side. Stop doubting and believe.”
The sculptor has utilized the architectural form of the console to depict this story. On the left, Thomas, his head now broken, places his finger in Christ’s wound; Mary Magdalen, to whom Christ also appeared after the Resurrection, stands behind him. The apostle on the other side of Christ is Saint Peter, who holds the key to heaven. The remaining figures are apostles who serve as witnesses to the miracle. The figure of Christ originally carried a cross-staff, symbolizing his victory over death.
[Gallery label text, June 2013]
1949.76
item
Memorial Art Gallery
1/29/2001
separations
8 x 10
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6/10/2009
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49.76DI#3
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6/10/2009
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49.76DI#4
digital image
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6/10/2009
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49.76DI#5
digital image
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6/10/2009
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3/1/2010
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3/1/2010
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3/1/2010
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49.76DI#11
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3/1/2010
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49.76DI#12
digital image
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3/1/2010
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Painting
Boomtown
Thomas Hart Benton, 1889 - 1975
Benton, Thomas Hart
United States
1889 - 1975
Male
46 1/8 x 54 1/4 in. (117.2 x 137.8 cm)
.
.
.
overall framed size
horizontal
frame
.
.
.
without frame
Egg yolk and oil
Egg yolk and oil
1928
1928
1928
1900-2000, 20th century, American Scene/Regionalism, cityscapes, Encyclopedia Britannica Collection, paintings
Painting
Early in his career, Thomas Hart Benton was involved in the American abstract movement, Synchromism. In the 1920s, Benton embarked on a style that incorporated Synchromist rhythmic line and expressive color with representational imagery of rural America. With this major shift in style, Benton established the Regionalist movement. Many consider Boomtown to be the artist’s first Regionalist masterpiece.
[Gallery label text, 2007]
Boomtown is one of the masterpieces of the Gallery's collection because of its impressive and unique depiction of an American landscape. When Thomas Hart Benton sketched this panoramic scene from a second floor window, the smoky fire on the horizon signified progress, not pollution. Borger, Texas was a boomtown that sprang to life in 1926 after a refinery company hit a gusher that produced 5000 gallons of oil a day.
Benton is one of the three major American Regionalists (the other two are Grant Wood and John Steuart Curry), so called because most of their subjects were about life in the rural heartland of America.
While Benton was not a fan of contemporary modernist painting, and in fact disdained artists who painted in the abstract style, he couldn't help but be influenced by the curvy and streamlined aesthetic of his times and the way in which artists were reinterpreting three-dimensional space. Consider the way in which the people, buildings and landscape are layered from top to bottom on the canvas, rather than being laid out carefully from front to back in the manner of traditional artistic renderings.
[Gallery label text, 2006]
lower right
1951.1
item
Memorial Art Gallery
9/8/1999
51.1TR1
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Memorial Art Gallery
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51.1DI1
digital image
Memorial Art Gallery
Imaging complete
7/10/2000
http://127.0.0.1:5000/Media/images/51.1_A1.jpg
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51.1DI1
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Memorial Art Gallery
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51.1DI4
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Detail
6/11/2009
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51.1DI5
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6/11/2009
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6/11/2009
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6/11/2009
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Painting
Whitestone Bridge
Ralston Crawford, 1906 - 1978
Crawford, Ralston
United States
9/5/1906 - 4/27/1978
Male
40 1/4 x 32 in. (102.2 x 81.3 cm)
.
.
.
overall framed size
vertical
frame
.
.
.
without frame
Oil
Oil
1939-1940
1939
1940
1900-2000, 20th century, bridges, Encyclopedia Britannica Collection, paintings, Precisionism
Painting
Ralston Crawford’s strong linear style and simplified form and palette in Whitestone Bridge are representative of the modern Precisionist style. Precisionist artists celebrated industrialization and technology with a visual language that evoked the purity and perfection of the machine.
[Gallery label text, 2007]
The Whitestone Bridge, linking The Bronx and Queens, was opened in 1939 just in time for the New York World's Fair. The suspension bridge routed travelers coming to the Fair from Upstate and New England away from the congestion of New York City. At the same time, Crawford was moving away from painting traditional landscapes and searching for a vocabulary that was closer in spirit to the streamlined, industrial aesthetic that he was observing in the world around him. The Whitestone Bridge was an excellent match for his artistic aspirations.
The sleek and futuristic lines of the Whitestone Bridge matched the Trylon and Perisphere logo of the World's Fair, which was intended to signify progress and the World of Tomorrow. By 1944, when this painting was acquired by the Encyclopedia Britannica Collection, the sleek and elegant Whitestone Bridge had become an icon of contemporary design.
The curator traveled to New York City to determine whether the bridge really looks as though it extends back into space with no land visible on the other side. And, in fact, Crawford's thrilling vantage point can be experienced by taking the bus across the bridge - for a brief instant, the first-time crosser experiences the view that Crawford recorded: a slim line of road, held up by wires, sailing across the water with no end in sight.
[Gallery label text, 2006]
lower right
Neelon Crawford
1951.2
item
Memorial Art Gallery
9/8/1999
51.2TR1
Transparency
Memorial Art Gallery
4 x 5
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51.2SL1
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51.2DI1
digital image
Memorial Art Gallery
Imaging complete
6/23/2000
http://127.0.0.1:5000/Media/images/51.2_A1.jpg
51.2SL2
slide
photo of bridge from same vantage point
2 x 2
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digital image
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51.2DI3
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Memorial Art Gallery
Imaging complete
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51.2DI#3
digital image
5/22/2013
http://127.0.0.1:5000/Media/images/51.2_A3.jpg
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
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digital image
Memorial Art Gallery
Imaging complete
7/13/2000
http://127.0.0.1:5000/Media/images/51.3_A1.jpg
51.3SL2
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detail-slightly cropped
2 x 2
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51.3SL3
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photo of old gas pump
2 x 2
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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
Cars in a Sleet Storm
Arthur Dove, (Canandaigua, NY, 1880 - 1946, Long Island, NY)
Dove, Arthur
United States
1880 - 1946
Male
15 x 21 in. (38.1 x 53.3 cm)
.
.
.
overall framed size
horizontal
frame
.
.
.
approximate installation dimensions
frame
.
.
.
without frame
Oil
Oil
1938
1938
1938
1900-2000, 20th century, cars, Encyclopedia Britannica Collection, Modernism, paintings
Painting
Painted in Geneva, NY, Cars in a Sleet Storm is representative of Arthur Dove’s personalized abstract vocabulary with which he responded to the world around him. Dove, along with Georgia O’Keeffe and Marsden Hartley, were members of a group of modernist American artists championed by the photographer Alfred Stieglitz in his 291 Gallery in Manhattan.
[Gallery label text, 2007]
Arthur G. Dove was a native of Geneva, New York, about 46 miles from Rochester. Early on, rural New York State did not satisfy Dove's desire for a more engaged artistic life, and a few years after the turn of the 20th century, he moved to New York City and then to Paris. On his return to the United States in 1910, he began to paint abstract landscapes, and is considered one of America's first abstract painters. Dove's work was actively exhibited by photographer Alfred Stieglitz in his Gallery 291 and Intimate Gallery, major centers of avant-garde art in the United States. Stieglitz also showed the work of Georgia O'Keeffe whom he married in 1924.
Cars in a Sleet Storm was painted at the end of Dove's years in Geneva, where he had returned to manage his father's estate.
Dove's own words align him with the 20th century movement away from identifiable subject matter:"I would like to make something that is real in itself, that does not remind anyone of any other thing, and that does not have to be explained like the letter A, for instance." He also commented, "… I no longer observed in the old way, and not only began to think subjectively but also to remember certain sensations purely through their form and color, that is, by certain shapes, planes of light, or character lines determined by the meeting of such planes."
[Gallery label text, 2006]
lower center
Toni Dove
1951.4
item
Memorial Art Gallery
9/8/1999
51.4SL1
slide
Memorial Art Gallery
full
2 x 2
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51.4DI2
digital image
4/17/2014
http://127.0.0.1:5000/Media/images/51.4_A2.jpg
Painting
The Opposition
William Gropper, 1897 - 1977
Gropper, William
United States
1897 - 1977
Male
28 x 38 in. (71.1 x 96.5 cm)
.
.
.
overall framed size
horizontal
frame
.
.
.
without frame
Oil
Oil
1942
1942
1942
1900-2000, 20th century, American Scene/Regionalism, Encyclopedia Britannica Collection, men, paintings, politics in art, Social Realism
Painting
William Gropper satirized the United States Senate in The Opposition as lawmakers were threatening to cut significant federal funding for the arts. Gropper wrote, “I have portrayed the type of representative that is opposed to progress and culture. The U.S. Senate…[has] such an influence on American life, good and bad, that it has even affected the artist and the cultural development of our country.”
William Gropper supported himself with his political cartoons, satirical drawings, and illustrations, most of which pointed out how the burdens of society were largely borne by the working class.
[Gallery label text, 2024]
Lawmakers were threatening to cut significant federal funding for the arts when political cartoonist and painter William Gropper satirized the United States Senate in The Opposition. Gropper wrote, “I have portrayed the type of representative that is opposed to progress and culture. The U.S. Senate…[has] such an influence on American life, good and bad, that it has even affected the artist and the cultural development of our country.”
[Gallery label text, 2007]
William Gropper was best known for his caustic commentary on the American political and social scene. He depicted realistic and identifiable subjects; The Opposition was one of a number of paintings and illustrations that came out of his 1934 assignment for the magazine Vanity Fair, to sketch legislators in action in Washington. Gropper made no bones about his distaste for politics and used his art to further his point of view:
"I have portrayed the type of representative that is opposed to progress and culture. The U.S. Senate and the House of Representatives have had such an influence on American life, good and bad, that it has even affected the artist and the cultural development of our country. No matter how far removed from politics artists may be, it seems to strike home. Only recently one blasting speech of a reactionary representative resulted in not only doing away with the Section of Fine Art, but also dismissing the Graphic Division of the OWI [Office of War Information] and nullifying art reportage for the War Department."
Gropper's start as a newspaper illustrator informed the creative processes of the rest of his life. His work retained his journalist's interest in issues of the day, giving it a particularly topical essence presented in a dynamic, expressionistic format.
[Gallery label text, 2006]
lower left
1951.5
item
Memorial Art Gallery
9/8/1999
51.5TR1
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Memorial Art Gallery
4 x 5
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Memorial Art Gallery
Imaging complete
7/14/2000
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Memorial Art Gallery
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Watercolor
Marin Island, Small Point, Maine
John Marin, 1870 - 1953
Marin, John
United States
1870 - 1953
Male
17 x 21 3/4 in. (43.2 x 55.2 cm)
.
.
.
sheet
Watercolor
Watercolor
1931
1931
1931
1900-2000, 20th century, Encyclopedia Britannica Collection, seascapes, watercolors
Watercolor
Like Arthur G. Dove and Georgia O'Keeffe, John Marin aligned himself with the avant-garde circle surrounding Alfred Stieglitz. While Marin's favorite subjects were landscapes and seascapes, particularly Maine marines, he applied to them the modernist sensibilities that he absorbed from European masters like Cézanne, whose first one-man show was at Stieglitz's Gallery 291 in 1911. The island that Marin depicts here is one that he purchased in 1914 immediately after getting married. It is off the coast of Maine, near Portland. The Maine landscape drew Marin back throughout his life.
A chief characteristic of twentieth century painting has been the practice of artists to transform subject with emotion, or as Marin's fellow painter Arthur Dove describes it, to pull the subject matter out and leave the sensation. Here, Marin sketches in the bare bones of his island but then folds it in as part of an all-over expression of action and energy, as if to suggest that the land mass is one with the wind and the waves.
[Gallery label text, 2006]
lower right
1951.10
item
Memorial Art Gallery
9/8/1999
51.10TR1
transparency
2.5 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.10SL1
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
51.10DI1
digital image
Memorial Art Gallery
Imaging complete
2/20/2001
http://127.0.0.1:5000/Media/images/51.10_A1.jpg
53marin1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/53marin1.tif
M425_p216.tif
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_p216.tif
Painting
Chinese Restaurant
John Sloan, 1871 - 1951
Sloan, John
United States
1871 - 1951
Male
26 x 32 1/4 in. (66 x 81.9 cm)
.
.
.
overall framed size
horizontal
frame
.
.
.
without frame
Oil
Oil
1909
1909
1909
1900-2000, 20th century, Ashcan School and friends, cats, Encyclopedia Britannica Collection, important MAG collections, paintings
Painting
John Sloan’s interest in the working class was not only aesthetic, it was also political. By 1909, Sloan was an active member of the Socialist party and used his art to shine a light on the equally noble and interesting lives of the lower classes. Marrying style to subject, Sloan’s loose brushwork and dark colors epitomize the Ashcan style.
[Gallery label text, 2007]
In 1909, many artists and collectors would not have considered a Chinese restaurant to be an appropriate subject for a painting. The artist, John Sloan, was part of a group of artists labeled “Ashcan” painters early in the century, because of their frequent choice of the less genteel aspects of urban life. Now, Sloan’s paintings are recognized as major documents of American life and this painting, like many others on view in this installation, is often loaned to museums in the United States and overseas.
Also called “The Eight,” Sloan and his seven colleagues exhibited together in a landmark show at Macbeth Gallery in 1908 in response to the jurying system of the National Academy and its more traditional members that frequently excluded less conventional artists.
It’s amusing to consider that in 1943, when the Encyclopedia Britannica collection was being assembled, that a painting created in 1909 would be considered contemporary. However, it may have been included in recognition of the fact that John Sloan painted his contemporary world as he saw it. In fact, in 1943, the freshness of Sloan’s style and the timeless nature of the scene painted thirty-four years previously did not seem out of keeping with many works from the 1940s. And Sloan was still quite an active artist at this point in his life.
[Gallery label text, 2006]
As recommended by his mentor, painter Robert Henri, John Sloan derived most of his subjects from close observation of his surroundings. Such was the case on the night of February 23, 1909, when he went out to eat at a restaurant on Sixth Avenue, not far from Herald Square. He wrote, “I saw a strikingly gotten up girl with dashing red feathers in her hat playing with the restaurant's fat cat. It would be a good thing to paint. I may make a go at it.” Characteristically, Sloan waited for a bit before undertaking the work, and on March 15 wrote, “I started a memory painting of the Chinese Restaurant girl I saw some four weeks ago." His intermittent working style is revealed by a diary entry on March, 18, in which he described not only working on the painting, but going to the restaurant again to “refresh my memory of the place.”
In 1944, the painting joined a corporate collection of outstanding contemporary art formed by the Encyclopedia Britannica. In 1951, the Memorial Art Gallery acquired fourteen paintings from the collection – this painting and work by Thomas Hart Benton, Georgia O'Keeffe, and Stuart Davis, among others.
[Gallery label text, 2003]
lower left
1951.12
item
Memorial Art Gallery
9/8/1999
51.12TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.12TR2
transparency
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.12SL1
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
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
51.12DI1
digital image
Memorial Art Gallery
Imaging complete
7/10/2000
http://127.0.0.1:5000/Media/images/51.12_A1.jpg
51.12SL2
slide
detail-cat
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.12SL3
slide
detail- man
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.12SL4
slide
detail-woman
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
51.12TR3
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
36sloan3.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/36sloan3.tif
51.12TR2
transparency
Full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.12DI#2
digital image
6/1/2009
http://127.0.0.1:5000/Media/images/51.12_A2.jpg
Ceramics
Krater
Mycenaean artist, (active )
Mycenaean artist
Greece
18 1/2 in. (47 cm)
.
.
.
top
.
.
.
base
.
.
.
Terracotta
Terracotta
Mycenaean; made in Cyprus
1275 BCE-1225 BCE
1275 BCE
1225 BCE
2000 - 1000 BCE, ceramics, Greek, kraters
Ceramics
A krater is a large, wide-mouthed jar, often used for mixing wine and water. These two kraters [51.203, 51.204] were found on Cyprus, an important island in the trade routes of the ancient Mediterranean and location of a significant Mycenaean colony. They likely served a funerary function, holding wine at the funeral feast, or containing the cremated remains of the deceased.
The similar scenes on these two kraters represent the popular Mycenaean decorative motif of horse-drawn war chariots. The vase painter represented the two horses as a single body with two heads, two tails, and two pairs of forelegs and hind legs.
The scene may refer to honors for a fallen warrior as described by Homer in the Iliad, where, during the Trojan War, the Greek hero Achilles led a solemn chariot procession in tribute to his dead companion Patroclus.
[Gallery label text, 2009]
1951.203
item
Memorial Art Gallery
2/4/2001
51.203TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.203SL1
slide
full-chariot side
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
8 x 10
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
51.203DI1
digital image
Memorial Art Gallery
Imaging complete
4 x 5
12/17/2001
http://127.0.0.1:5000/Media/images/51.203_A1.jpg
51.203SL2
slide
detail-chariot
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.203SL2
slide
detail-figure
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.203SL4
slide
full side w handle
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.203DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.203DI#3
digital image
3/30/2009
http://127.0.0.1:5000/Media/images/51.203_A2.jpg
51.203DI#4
digital image
3/30/2009
http://127.0.0.1:5000/Media/images/51.203_A3.jpg
51.203DI#5
digital image
3/30/2009
http://127.0.0.1:5000/Media/images/51.203_A4.jpg
51.203DI#6
digital image
3/30/2009
http://127.0.0.1:5000/Media/images/51.203_A5.jpg
51.203DI#7
digital image
3/30/2009
http://127.0.0.1:5000/Media/images/51.203_A6.jpg
51.203DI#8
digital image
Detail
3/30/2009
http://127.0.0.1:5000/Media/images/51.203_A7.jpg
51.203DI#9
digital image
Detail
3/30/2009
http://127.0.0.1:5000/Media/images/51.203_A8.jpg
51.203DI#10
digital image
Detail
3/30/2009
http://127.0.0.1:5000/Media/images/51.203_A9.jpg
51.203DI#11
digital image
Detail
3/30/2009
http://127.0.0.1:5000/Media/images/51.203_A10.jpg
51.203DI#12
digital image
Detail
3/30/2009
http://127.0.0.1:5000/Media/images/51.203_A11.jpg
51.203DI#13
digital image
Detail
3/30/2009
http://127.0.0.1:5000/Media/images/51.203_A12.jpg
51.203DI#14
digital image
Detail
3/30/2009
http://127.0.0.1:5000/Media/images/51.203_A13.jpg
51.203DI#15
digital image
3/30/2009
http://127.0.0.1:5000/Media/images/51.203-204_A1.jpg
51.203TR2
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Ceramics
Krater
Mycenaean artist, (active )
Mycenaean artist
Greece
Primary
17 1/2 in. (44.5 cm)
.
.
.
base
.
.
.
top
.
.
.
Terracotta
Terracotta
Mycenaean; made in Cyprus
1275 BCE-1225 BCE
1275 BCE
1225 BCE
2000 - 1000 BCE, ceramics, Greek, horses, kraters
Ceramics
A krater is a large, wide-mouthed jar, often used for mixing wine and water. These two kraters [51.203, 51.204] were found on Cyprus, an important island in the trade routes of the ancient Mediterranean and location of a significant Mycenaean colony. They likely served a funerary function, holding wine at the funeral feast, or containing the cremated remains of the deceased.
The similar scenes on these two kraters represent the popular Mycenaean decorative motif of horse-drawn war chariots. The vase painter represented the two horses as a single body with two heads, two tails, and two pairs of forelegs and hind legs.
The scene may refer to honors for a fallen warrior as described by Homer in the Iliad, where, during the Trojan War, the Greek hero Achilles led a solemn chariot procession in tribute to his dead companion Patroclus.
[Gallery label text, 2009]
1951.204
item
Memorial Art Gallery
2/4/2001
51.204TR2
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.204SL1
slide
full-side with charriot
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
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
details
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
details
1 x 1
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.204TR1
transparency
1 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
1x1
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.204DI1
digital image
Memorial Art Gallery
View includes 51.203, cropped out in digital version
Imaging complete
2 x 3
12/17/2001
http://127.0.0.1:5000/Media/images/51.204_A1.jpg
51.204SL2
slide
full-handle side
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.204SL3
slide
detail-handle
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.204SL4
slide
detail-chariot
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.204SL5
slide
detail-stripes & mark
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.204SL6
slide
detail-stripes
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.204SL7
slide
detail-bottom
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/Graphics/blank.gif
51.204DI2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/51.204_A2.jpg
51.204DI#3
digital image
3/30/2009
http://127.0.0.1:5000/Media/images/51.204_A3.jpg
51.204DI#4
digital image
3/30/2009
http://127.0.0.1:5000/Media/images/51.204_A4.jpg
51.204DI#5
digital image
3/30/2009
http://127.0.0.1:5000/Media/images/51.204_A5.jpg
51.204DI#6
digital image
3/30/2009
http://127.0.0.1:5000/Media/images/51.204_A6.jpg
51.204DI#7
digital image
3/30/2009
http://127.0.0.1:5000/Media/images/51.204_A7.jpg
51.204DI#8
digital image
3/30/2009
http://127.0.0.1:5000/Media/images/51.204_A8.jpg
51.204DI#9
digital image
3/30/2009
http://127.0.0.1:5000/Media/images/51.204_A9.jpg
51.204DI#10
digital image
3/30/2009
http://127.0.0.1:5000/Media/images/51.204_A10.jpg
51.204DI#11
digital image
3/30/2009
http://127.0.0.1:5000/Media/images/51.204_A11.jpg
51.204DI#12
digital image
3/30/2009
http://127.0.0.1:5000/Media/images/51.204_A12.jpg
51.204DI#13
digital image
3/30/2009
http://127.0.0.1:5000/Media/images/51.204_A13.jpg
51.204DI#14
digital image
3/30/2009
http://127.0.0.1:5000/Media/images/51.204_A14.jpg
51.204DI#15
digital image
3/30/2009
http://127.0.0.1:5000/Media/images/51.203-204_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
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 Conversion of St. Paul
Francesco Ubertini, 1494? - 1557
Ubertini, Francesco
Italy
1494? - 1557
Male
38 x 31 in. (96.5 x 78.7 cm)
.
.
.
without frame
Oil
Oil
1530-1535
1530
1535
1400-1600, paintings, Renaissance & Baroque, St. Paul
Painting
back of frame, In several spots, all illegibleback of frame, In several spotsback of frame, Adhered to MAG label and encapsulated on back of frameback of frame, Encapsulated on back of frame
1954.2
item
Memorial Art Gallery
4/5/2000
54.2TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
54.2DI2
digital image
Memorial Art Gallery
8/25/2001
http://127.0.0.1:5000/Graphics/blank.gif
54.2SL1
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
54.2DI1
digital image
Memorial Art Gallery
Imaging complete
6/26/2000
http://127.0.0.1:5000/Media/images/54.2_A1.jpg
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
54.2SL2
slide
detail of horse
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
54.2DI#2
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/54.2_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
Sculpture
Study for "Balzac"
Auguste Rodin, (Paris, 1840 - 1917, Meudon, France)
Rodin, Auguste
France
1840 - 1917
Male
16 in. (40.6 cm)
.
.
.
.
.
.
Bronze
Bronze
1891-1892
1891
1892
European art, men, nudes, sculpture
Sculpture
1955.14
item
Memorial Art Gallery
1/17/2001
55.14SL1
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
negative
3x2
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
55.14SL2
slide
detail-head
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.14DI1
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/55.14_A1.jpg
55.14DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
55.14DI#3
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/55.14_A2.jpg
55.14DI#3
digital image
11/15/2011
http://127.0.0.1:5000/Media/images/55.14_A3.jpg
55.14DI#4
digital image
11/15/2011
http://127.0.0.1:5000/Media/images/55.14_A4.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
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
Madonna and Child with Saints Francis of Assisi, John the Baptist, Peter and Dom
School of Nardo di Cione, active 1343 - d. 1365/1366
Cione, Nardo di
Italy
active 1343 - 1365-1366
Male
30 x 86 1/2 x 6 1/2 in. (76.2 x 219.7 x 16.5 cm)
.
.
.
Tempera
Tempera
second half of the 14th century
1350
1399
1000-1400, John the Baptist, Madonna and Child, paintings, Renaissance & Baroque, St. Dominic, St. Francis of Assisi, St. Peter
Painting
This altarpiece is painted in the style of Nardo di Cione, one of the most influential Florentine painters working in the decades following the plague, or Black Death, of 1348. In the central panel the Madonna holds the Christ Child, who bears a scroll with the beginning of the inscription “I am the light of the world.” On the left, John the Baptist holds a scroll reading “Behold the Lamb of God” and points toward Christ; on the right, St. Peter displays the key to the kingdom of heaven and respectfully covers his hand to hold the Bible. On the far left and right of the polyptych, or multi-part painting, are Sts. Francis and Dominic, founders of the two most important mendicant monastic orders.
[Gallery label text]
back of panel, Per curatorial file, on back of St. John panelback of panel, Per curatorial file, on back of St. John panelback of panel, Per curatorial file, on back of St. John panelback of panel, Per curatorial file, on back of St. Francis panelback of panel, Per curatorial file, on back of St. Dominic panel
1957.4
item
Memorial Art Gallery
2/20/2001
57.4TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
57.4SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
detail
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full
4 x 5
00/00/00
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glossy
full
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
57.4SL2
slide
detail-St. John Baptist
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
57.4SL3
slide
detail-St. Francis of Assisi
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
57.4SL4
slide
detail St. Dominic
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
57.4SL5
slide
detail-St. Peter
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
57.4SL6
slide
detail-Virgin/Child
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
57.4SL7
slide
detail-middle 3 images
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
57.4SL8
slide
detail-right 3 figures
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
57.4SL9
slide
detail-left 3 figures
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
57.4DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/57.4_A1.jpg
57.4DI2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/57.4_A2.jpg
57.4DI3
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/57.4_A3.jpg
57.4DI4
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/57.4_A4.jpg
57.4DI5
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/57.4_A5.jpg
57.4DI6
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/57.4_A6.jpg
57.4DI7
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/57.4_A7.jpg
57.4DI8
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/57.4_A8.jpg
57.4DI9
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/57.4_A9.jpg
57.4DI10
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/57.4_A10.jpg
57.4DI11
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/57.4_A11.jpg
57.4DI12
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/57.4_A12.jpg
57.4DI13
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/57.4_A13.jpg
57.4DI14
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/57.4_A14.jpg
57.4DI15
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/57.4_A15.jpg
57.4DI#16
digital image
Detail
4/18/2011
http://127.0.0.1:5000/Media/images/57.4_A16.jpg
57.4DI#17
digital image
Detail
4/18/2011
http://127.0.0.1:5000/Media/images/57.4_A17.jpg
57.4DI#18
digital image
Detail
4/18/2011
http://127.0.0.1:5000/Media/images/57.4_A18.jpg
57.4DI#19
digital image
4/18/2011
http://127.0.0.1:5000/Media/images/57.4_A19.jpg
Painting
Interior of a Mosque
Mosque at Cairo
Jean-Léon Gérôme, (Vesoul, France, 1824 – 1904, Paris)
Gérôme, Jean-Léon
France
1824 - 1904
Male
23 3/8 x 35 3/8 in. (59.4 x 89.9 cm)
.
.
.
.
.
.
approximate installation dimensions
frame
Oil
Oil
1890-1899
1890
1899
1800-1900, 19th century, from Rochester collections, mosques, Orientalism, paintings
Painting
An enthusiastic amateur archaeologist, Gérôme painted dozens of Eastern scenes over his long career, including a number of mosque interiors. Although the mosque seen here has not been identified, the artist was known to have travelled in Asia Minor, the Middle East, and North Africa, and it is believed that this elaborate interior is a composite, made up of details from a number of specific sites. The worshippers assume accurate postures for their devotions, from the initial upright recitation of vows to the final prostration before God.
Gérôme was a firm proponent of the Academic style: he taught at the Ecole des Beaux-Arts in Paris, and won national honors and the patronage of royalty. Although his pupils had included icons of modernism such as Fernand Leger and Everett Shinn, Gérôme was initially opposed to any challenges to the supremacy of the Academy. In the face of increasing opposition to his conservative viewpoint, he declared that the work of the Impressionists was “insipid and badly executed.”
[Gallery label text, 2011]
back of stretcher, written on a strip of masking tapeback of stretcherback of stretcherback of stretcher, both phrases in the same handwriting.back of frameback of frame
1957.18
item
Memorial Art Gallery
1/17/2001
57.18DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/57.18_A1.jpg
57.18TR1
transparency
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
57.18SL1
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
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
57.18DI#2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/57.18_A2.jpg
Painting
Portrait in a Brown Dress
Lady in Yellow
Thomas W. Dewing, (Boston, MA, 1851 - 1938, New York, NY)
Dewing, Thomas W.
United States
1851 - 1938
Male
20 x 15 1/2 in. (50.8 x 39.4 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
without frame
Oil
Oil
ca. 1908
1903
1913
1900-2000, 20th century, paintings, portraits, women
Painting
Around the same time that Thomas Dewing painted this portrait of a young woman reading a book, American art critic Charles Caffin wrote about Dewing's work:
"Generations of repressed emotion have made [Dewing's women] incapable of passion; strenuousness survives only in supersensitive nerves; their sole religion is the worship of self…They are motionless in an atmosphere from which all human warmth has been sucked, in a vacuum drained of intellectual and emotional nourishment. These bodily shapes are not of flesh and blood; they are the essence distilled from the withering of what is womanly, the mere fragrance of dead rose-leaves."
Thomas Dewing's depictions of genteel, ethereal young women engaged in contemplative and artistic pursuits stand in contrast to the bold and vigorous "New Woman," the feminist model of woman who emerged during this same period. The "New Woman" earned a living and wanted the vote and was not content to be marginalized in gauzy environments like the ones created by Dewing.
This painting is in its original frame, which is similar to those designed by Stanford White, who created opulent and decorative environments for many of Dewing's Gilded Age patrons.
(1). Charles H. Caffin, The Story of American Painting: The Evolution of American Painting from Colonial Times to the Present (New York: Frederick A. Stokes Company, 1907) , 189.
[Gallery label text]
lower leftverso, upper rightverso
1957.79
item
Memorial Art Gallery
9/8/1999
57.79TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
57.79SL1
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
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
57.79DI1
digital image
Memorial Art Gallery
Imaging complete
7/10/2000
http://127.0.0.1:5000/Media/images/57.79_A1.jpg
M425_p159.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_p159.tif
M425_p159(10).tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_p159(10).tif
Drawing
Young Mother, Daughter, and Baby (Jeune mère, fillette et bébé)
Mother and Son on a Chaise Longue, Daughter Leaning Over Them
Mary Cassatt, 1844 - 1926
Cassatt, Mary
United States
1844 - 1926
Female
43 1/4 x 33 1/4 in. (109.9 x 84.5 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
without frame
Pastel
Pastel
1913
1913
1913
1900-2000, 20th century, children, drawing, families, figure, women
Drawing
Mary Cassatt was an American artist who lived in France for much of her life, after having moved there at the age of 21 in order to study painting. Artist Edgar Degas admired Cassatt’s art and encouraged her to join the circle of painters that included Pierre Renoir and Claude Monet, the group that became known as the Impressionists. She first exhibited with them in 1879, when she was 35, and continued to be associated with them for the rest of her life. Cassatt was the only American woman in the group.
While Cassatt’s subjects were typically women and children, she herself lived an atypical life for a woman in that period. Cassatt was a strong supporter of women’s suffrage; this painting and others were exhibited in a 1915 exhibition at Knoedler’s that was organized by Cassatt’s good friend and staunch supporter, suffragist and art connoisseur Louisine Havemeyer.
[Gallery label text, 2009]
lower right
1959.16
item
Memorial Art Gallery
9/8/1999
59.16TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
59.16SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full
5x7
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
59.16DI1
digital image
Memorial Art Gallery
Imaging complete
7/10/2000
http://127.0.0.1:5000/Media/images/59.16_A2.jpg
59.16SL1
slide
in 4/1915 exhibit
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
59.15TR2
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
59.16DI#2
digital image
Memorial Art Gallery
1/9/2008
http://127.0.0.1:5000/Media/images/59.16_A1.jpg
Sculpture
Calligraphics
Isamu Noguchi, 1904 - 1988
Noguchi, Isamu
United States
1904 - 1988
Male
70 5/8 x 18 x 3 5/8 in. (179.4 x 45.7 x 9.2 cm)
.
.
.
overall
Iron, wood and rope
Iron, wood and rope
1957
1957
1957
1900-2000, 20th century, sculpture
Sculpture
Isamu Noguchi’s father was a Japanese poet and his mother was an American writer. Although he was born in California and lived much of his life in the U.S., Noguchi’s travels reflected his own East-West duality. The artist spent his childhood traveling throughout Japan with his mother. As a young man he went to Paris to study with the abstract sculptor Constantin Brancusi. In China, he studied the ancient art of calligraphy.
In the sleek, mid-century forms of Calligraphics, Noguchi combined his love of modern sculpture and calligraphy. The two shapes suggest abstract versions of Japanese characters: ni meaning “the sun” (like the red sun on the flag of Japan) and hon meaning “the origin” (perhaps his own).
[Summer 2015]
1960.2
item
Memorial Art Gallery
9/8/1999
60.2TR1
Transparency
Memorial Art Gallery
Front
2 x 2 3/4
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
transparency
2 x 2.5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
60.2SL1
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
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
60.2DI1
digital image
Memorial Art Gallery
Front
Imaging complete
2/5/2001
http://127.0.0.1:5000/Media/images/60.2_A1.jpg
60.2DI#3
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/60.2_R1.jpg
Painting
Ruby Gold
Hans Hofmann, (Weissenburg, Bavaria, Germany, 1880 - 1966, New York, NY)
Hofmann, Hans
United States
1880 - 1966
Male
55 3/8 x 40 1/2 in. (140.7 x 102.9 cm)
.
.
.
without frame
.
.
.
approximate installation dimensions
Oil
Oil
1959
1959
1959
1900-2000, 20th century, American art, Modernism, paintings, red
Painting
According to painter Hans Hofmann, “there are bigger things to be seen in nature than the object.” Ruby Gold demonstrates this idea through the dramatic interplay of color, form, and expression.
Hofmann was one of the most influential teachers of Abstract Expressionism, the painting style for which he is known. While other painters, such as Jackson Pollock, pioneered the style, Hofmann taught it to generations of students and helped to cement its role as a dominant form of painting in the U.S. from the 1950s onward. He created his signature works, like Ruby Gold, in the last eight years of his life, when, at age 78, he stopped teaching and devoted himself exclusively to painting.
[Summer 2015]
lower rightversoversoverso, stretcherverso, stretcher
1960.37
item
Memorial Art Gallery
9/8/1999
60.37TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
60.37CNEG1
negative
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
60.37SL1
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
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negative
full
5 x 7
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
60.37DI1
digital image
Memorial Art Gallery
Imaging complete
7/13/2000
http://127.0.0.1:5000/Media/images/60.37_A1.jpg
60.37DI#2
digital image
Verso
10/24/2013
http://127.0.0.1:5000/Media/images/60.37_A3.jpg
60.37DI#3
digital image
10/24/2013
http://127.0.0.1:5000/Media/images/60.37_A2.jpg
60.37SL2
slide
detail
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
60.37DI#4
digital image
edge
11/29/2011
http://127.0.0.1:5000/Media/images/Inventory pictures/60.37_I1.JPG
Painting
La Bionda del Balcone
Dante Gabriel Rossetti, (London, 1828 – 1882, Birchington-on-Sea, England)
Rossetti, Dante Gabriel
England
1828 - 1882
Male
14 7/8 x 13 3/4 in. (37.78 x 34.93 cm)
.
.
.
approximate installation dimensions
frame
Watercolor
Watercolor
1868
1868
1868
1800-1900, 19th century, paintings, women
Painting
1966.17
item
Memorial Art Gallery
2/20/2001
66.17TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
66.17DI1
digital image
4 x 5
10/30/2001
http://127.0.0.1:5000/Media/images/66.17_A1.jpg
66.17SL1
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
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/P/Master_Files/66.17_M2.tif
66.17DI3
digital image
with frame
6/30/2009
http://127.0.0.1:5000/Media/images/66.17_A2.jpg
Sculpture
The West Wind
Thomas Ridgeway Gould, 1818 - 1881
Gould, Thomas Ridgeway
United States
1818 - 1881
Male
70 1/2 x 23 x 33 1/4 in. (179.1 x 58.4 x 84.5 cm)
.
.
.
overall
Marble
Marble
1876
1876
1876
1800-1900, 19th century, allegories, sculpture, women
Sculpture
Who was the West Wind? In Greek mythology, the West Wind was Zephyrus, one of the four wind gods. Perhaps the maker of this work, who was influenced by the mythological subjects that he saw in Italy, was describing the West Wind by showing its effect on the figure’s hair and skirt. Another interpretation suggests that the sculpture is an idealized expression of the United States’s westward expansion. It was exhibited at the Centennial Exhibition in Philadelphia on the occasion of the nation’s hundredth birthday in 1876. The starred belt on the waistband of the figure’s clothing could refer to the stars on the American flag.
When English poet Percy Shelley wrote his Ode to the West Wind in 1820, he closed it with these immortal words:
O Wind,
If Winter comes, can Spring be far behind?
[Gallery label text, 2004]
base
1966.18
item
Memorial Art Gallery
9/8/1999
66.18TR1
Transparency
Memorial Art Gallery
3/4 view
2 x 2 3/4
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
66.18SL2
slide
full-frontal
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
66.18SL1
slide
full-left side
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
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
66.18DI1
digital image
Memorial Art Gallery
3/4 view
Imaging complete
2/5/2001
http://127.0.0.1:5000/Media/images/66.18_A1.jpg
66.18SL3
slide
full-right front
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
66.18SL4
slide
in Powers Gallery
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
66.18SL5
slide
in print from 1876 Exposition
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
21gould1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/21gould1.tif
21gould1(10).tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/21gould1(10).tif
21gould5.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/21gould5.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/66.18_R1.jpg
west wind in gallery.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/west wind in gallery.tif
west wind in situ.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/west wind in situ.tif
66.18D3
digital image
Side
00/00/00
http://127.0.0.1:5000/Media/images/66.18_A2.JPG
66.18D4
digital image
Detail
00/00/00
http://127.0.0.1:5000/Media/images/66.18_A3.JPG
66.18D5
digital image
Detail
00/00/00
http://127.0.0.1:5000/Media/images/66.18_A4.JPG
Sculpture
Six Cubes
William Sellers, (Bay City, Michigan, 1929 - 2019, Pottstown, PA)
Sellers, William
United States
1929 - 2019
Male
43 in. (109.2 cm)
.
.
.
Stainless steel
Stainless steel
1966
1966
1966
1900-2000, 20th century, sculpture
Sculpture
1967.21
item
Memorial Art Gallery
9/8/1999
67.21SL1
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
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
67.21DI1
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/67.21_A1.jpg
67.21SL2
slide
detail
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
in situ May 1995
5 x 7
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
67.21DI#2
digital image
6/14/2013
http://127.0.0.1:5000/Media/images/67.21_A2.jpg
Painting
Charles Gaspard Guillaume de Vintimille du Luc, Archbishop of Paris (1656-1746)
Hyacinthe Rigaud, (Perpignan, France, 1659 - 1743, Paris)
Rigaud, Hyacinthe
France
1659 - 1743
Male
61 7/8 x 52 3/4 in. (157.2 x 134 cm)
.
.
.
Oil
Oil
1731
1731
1731
1600-1800, 18th century, church officials, men, paintings, portraits
Painting
Next to the King, the archbishop of Paris was one of the most powerful men in France, and he surrounded himself with only the finest quality. Rigaud was the leading French portraitist of the early eighteenth century, often painting kings and royal families. His account book reveals that Archbishop Vintimille du Luc paid 3,000 livres (the French currency of the time) for this masterful likeness. The painting documents the archbishop's character and stature. The mild expression admirably suggests the conciliatory nature that made Vintimille du Luc famous for his diplomatic skills. Writing materials close at hand and a vest library in the background allude to his scholarly attainments and his work. His sumptuous attire, the exquisite workmanship of his desk and chair, and the theatrical backdrop of cloth are calculated to impress the viewer with the archbishop's power and wealth.
[Gallery label text, 2008]
1968.1
item
Memorial Art Gallery
1/25/2001
separations
6 x 7
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
68.1TR1
transparency
before conservation
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
68.1SL1
slide
full- before conservation
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full before conservation
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full w frame before conservation
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full before conservation
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
68.1SL2
slide
detail- lace before conservation
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
68.1SL3
slide
detail- eye before conservation
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
68.1DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/68.1_A2.jpg
68.1TR2
transparency
full after conservation
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
68.1SL4
slide
full after conservation
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
68.1DI6
digital image
4 x 5
00/00/00
http://127.0.0.1:5000/Media/images/68.1_A1.jpg
68.1DI7
digital image
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
68.1DI3
digital image
with frame- before conservation
00/00/00
http://127.0.0.1:5000/Media/images/68.1_A3.jpg
Painting
Abstract Painting: Red
Ad Reinhardt, (Buffalo NY, 1913 - 1967, New York NY)
Reinhardt, Ad
United States
1913 - 1967
Male
82 x 22 in. (208.28 x 55.88 cm)
.
.
.
without frame
.
.
.
approximate installation dimensions
frame
Oil
Oil
1952
1952
1952
1900-2000, 20th century, paintings, red
Painting
Ad Reinhardt took a philosophical point of view when it came to making fine art and explaining its significance. An influential writer on the subject, he is remembered for having made the following statement: “Art is Art, and Life is Life.” The spirit of this statement is well represented by this painting, which has a very subtle composition that only emerges for the viewer after close inspection. For Reinhardt, to appreciate the true significance of art one shouldn’t compare it to anything else. Art is an idea that is revealed only through pure form and content. For Reinhardt, art cannot teach you about the world. It can only teach you about art.
[Summer 2015]
backing board, In artist's hand?backing board, In artist's hand?
1968.47
item
Memorial Art Gallery
9/8/1999
68.47TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
68.47SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
68.47DI1
digital image
Memorial Art Gallery
Imaging complete
7/14/2000
http://127.0.0.1:5000/Media/images/68.47_A1.jpg
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
68.47DI#3
digital image
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/68.47_I3.jpg
68.47DI#4
digital image
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/68.47_I4.jpg
Painting
View off the Dutch Coast
Jan van de Cappelle, 1624/1626 - 1679
Cappelle, Jan van de
Netherlands
1624-1626 - 1679
Male
30 1/2 x 39 1/8 in. (77.5 x 99.4 cm)
.
.
.
.
.
.
approximate installation dimensions
horizontal
frame
Oil
Oil
after ca. 1652
1653
1662
1600-1800, 17th century, boats, George Eastman Collection, paintings, seascapes
Painting
The popularity of seascapes in seventeenth-century Holland reflected the wealth and power engendered by that nation's naval superiority. Although he was primarily a merchant and only an amateur painter, van de Cappelle is generally recognized as among the most proficient artists to specialize in this genre. The subtle color harmonies and quiet serenity of this scene are typical of his accomplishment.
[Gallery label text, 1989]
lower leftback of frameback of frameback of frame
1968.99
item
Memorial Art Gallery
11/13/2000
68.99TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
68.99SL1
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
68.99DI1
digital image
4 x 5
00/00/00
http://127.0.0.1:5000/Media/images/68.99_A1.jpg
68.99DI#2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/68.99_A2.jpg
Painting
Portrait of an Italian Nobleman
Anthony van Dyck, (Antwerp, Belgium, 1599 - 1641, London)
Dyck, Anthony van
Flanders
1599 - 1641
Male
40 x 32 1/2 in. (101.6 x 82.6 cm)
.
.
.
Oil
Oil
1622-1625
1622
1625
1600-1800, 17th century, armor, George Eastman Collection, men, paintings, portraits
Painting
The Flemish artist, Anthony van Dyck, painted this portrait of an Italian nobleman while he was working in Genoa between 1622 and 1625. Supremely talented and precocious, van Dyck enjoyed considerable success in Italy, Flanders, and eventually England, where he was the favorite painter of King Charles I. He painted notable religious and mythological canvases, but remains most famous for his extraordinarily vivid portraits. The name of this sitter, with his graceful pose and penetrating glance, is unknown. He was certainly a wealthy Genoese patrician, however. To convey this to future viewers of his portrait, he donned his richest apparel for the occasion, including a finely crafted suit of armor and his most expensive wide lace collar and cuffs.
[Gallery label text]
1968.100
item
Memorial Art Gallery
1/22/2001
68.100SL1
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
negative
full
2.5 x 2.5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full
2.5 x 2.5
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
glossy
full
5 x 7
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
68.100DI1
digital image
12/1/2001
http://127.0.0.1:5000/Media/images/68.100_A4.jpg
68.100SL2
slide
full- w frame
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
68.100SL3
slide
detail-hand
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
68.100DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/68.100_A1.jpg
M2.68.100.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/68.100_A2.jpg
M3.68.100.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/68.100_A3.jpg
68.100TR1
transparency
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
68.100DI5
digital image
Detail
6/16/2009
http://127.0.0.1:5000/Media/images/68.100_A5.jpg
Painting
Lieutenant-Colonel Hay MacDowell
Sir Henry Raeburn, (Edinburgh, Scotland, 1756 – 1823, Edinburgh, Scotland)
Raeburn, Henry
Scotland
1756 - 1823
Male
93 x 58 in. (236.2 x 147.3 cm)
.
.
.
Oil
Oil
ca. 1795
1790
1800
1800-1900, 19th century, George Eastman Collection, men, military, paintings, portraits, uniforms
Painting
Raeburn may have made this painting to commemorate General Hay MacDowell’s 1795 departure from the 57th Regiment of Foot, with which he had served for five years. He would go on to be named commander of the British forces in Madras, India.
The low perspective of the life-sized canvas elevates MacDowell to the status of a hero, while the vivid colors provide animation to an otherwise-static pose. The use of these simple devices to create a monumental effect helps to explain why Raeburn, who had no formal training as an artist, was the preeminent portraitist in Scotland in the late 1700s and early 1800s.
[Gallery label text, 2008]
1968.102
item
Memorial Art Gallery
11/3/2000
68.102TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
68.102SL1
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
negative
full
8 x 10
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
68.102TR2
transparency
full
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
68.102DI1
digital image
4 x 5
00/00/00
http://127.0.0.1:5000/Media/images/68.102_A1.jpg
68.102DI#2
digital image
6/4/2012
http://127.0.0.1:5000/Media/images/68.102_A2.jpg
Sculpture
The Breton Poet (The Smoker) (Le Fumeur)
Jean Baptiste Carpeaux, 1827 - 1875
Carpeaux, Jean Baptiste
France
1827 - 1875
Male
19 3/4 in. (50.2 cm)
.
.
.
Bronze
Bronze
1863
1863
1863
1800-1900, 19th century, authors, heads, men, portraits, sculpture
Sculpture
left edge, incised, cast in at left edge near shoulder
1969.34
item
Memorial Art Gallery
1/30/2001
69.34SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full 3/4
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full 3/4
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
69.34D1
digital image
3/4
2 x 2
6/14/2002
http://127.0.0.1:5000/Media/images/69.34_A1.jpg
69.34DI#2
digital image
11/15/2011
http://127.0.0.1:5000/Media/images/69.34_A2.jpg
69.34DI#3
digital image
6/4/2012
http://127.0.0.1:5000/Media/images/69.34_A3.jpg
Painting
The Bay of Estaque Seen from the East (La Baie de l'Estaque vue de l'est)
View of Mt. Marseilleveyre and the Isle of Maire (L'Estaque); La Montagne Marseilleveyre et l'Ile Maire; Le Golfe bleu (L'Estaque); Sea at L'Estaque
Paul Cézanne, (Aix-en-Provence, France, 1839 – 1906, Aix-en-Provence, France)
Cézanne, Paul
France
1839 - 1906
Male
21 1/4 x 25 5/8 in. (54 x 65.1 cm)
.
.
.
.
.
.
approximate installation dimensions
frame
Oil
Oil
ca. 1878-1882
1878
1882
1800-1900, 19th century, Impressionism, landscapes, paintings, seascapes
Painting
Paul Cézanne exhibited in the Impressionist exhibition of 1874, and was encouraged by Camille Pissarro to begin painting out of doors. He soon moved beyond the style of Impressionism and began building form with color to paintings that were more analytical than sensory. He frequently painted scenes of the small town of L’Estaque in southern France, where he lived and worked periodically from 1870 to 1885. In an 1876 letter to his friend the Impressionist painter Camille Pissarro, he wrote of his work in L’Estaque:
"I have started two little motifs with a view of the sea…red roofs over the blue sea…The sun is so terrific here that it seems to me as if the objects are silhouetted not only in black and white, but in blue, red, brown and violet. I may be mistaken, but this seems to me to be the opposite of modeling."
In this painting, he uses interlocking shapes of bright color and diagonal brushstrokes to create the sensation of volumes in the foliage, mountains, and water.
[Label copy from Monet: Vision and Process exhibition, 2018]
Cézanne's artistic goals developed through his contact with the Impressionists. Although he was not interested in rendering particular momentary impressions, he wished to record his "sensations" of nature. This painting typifies his technique-- suggesting form and volume through interlocking shapes that are rendered with bold, diagonal brushstrokes. The bright colors deftly evoke the strong light and crystalline atmosphere of southern France.
[Gallery label text, 1999]
back of stretcherback of stretcherback of stretcherback of stretcherback of stretcher, Italian customs stampback of stretcherback of stretcherback of stretcherback of stretcher, on cross-member of stretcherback of stretcher, on cross-member of stretcherback of stretcherback of stretcher, on cross-member of stretcherback of stretcher, On cross member of stretcher. Import or export stamp.back of canvas, Import or export stamp. Slightly different size and proportion than other similar stamp on this canvasback of canvas, Import or export stamp. Slightly different size and proportion than other similar stamp on this canvasback of canvas, Import or export stampback of canvas, Import or export stampback of stretcherback of stretcher, approximate height dimension of stretcher in cm.back of stretcherback of frameback of frame, (see photo attached)backing board, From Musee National d'Art Occidental
1969.45
item
Memorial Art Gallery
1/17/2001
69.45TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
69.45TR2
transparency
2 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
69.45SL1
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
glossy
full
3.5 x 4
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
69.45DI1
digital image
4 x 5
00/00/00
http://127.0.0.1:5000/Media/images/69.45_A1.jpg
Color separations
5 x 7
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
69.45DI#3
painting in frame
digital image
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/69.45_I7.jpg
69.45DI#2
back of frame
digital image
label
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/69.45_I6.jpg
digital image
Detail
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/69.45_I2.jpg
digital image
Back
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/69.45_I1.jpg
digital image
Detail
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/69.45_I3.jpg
digital image
Back
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/69.45_I4 .jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/69.45_I5.jpg
69.45DI4
digital image
10/17/2013
http://127.0.0.1:5000/Media/images/69.45_A2.jpg
69.45DI#5
digital image
11/27/2017
http://127.0.0.1:5000/Media/images/69.45_A4.jpg
Sculpture
Playground
Tony Smith, (South Orange, NJ, 1912 - 1980, New York, NY)
Smith, Tony
United States
1912 - 1980
Male
64 x 64 x 128 in. (162.6 x 162.6 x 325.1 cm)
.
.
.
overall
Mild steel
Mild steel
1962-1966
1962
1966
1900-2000, 20th century, sculpture
Sculpture
Mitchell-Innes & Nash
1970.57
item
Memorial Art Gallery
9/8/1999
70.57TR1
Transparency
Memorial Art Gallery
Side
2 1/4 x 2 3/4
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
70.57SL1
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
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
70.57DI1
digital image
Memorial Art Gallery
Side
Imaging complete
8/3/2000
http://127.0.0.1:5000/Media/images/70.57_A1.jpg
negative
2 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
70.57DI#2
digital image
6/9/2009
http://127.0.0.1:5000/Media/images/70.57_A2.jpg
70.57DI#3
digital image
10/8/2013
http://127.0.0.1:5000/Media/images/70.57_A3.jpg
70.57DI#4
digital image
10/8/2013
http://127.0.0.1:5000/Media/images/70.57_A4.jpg
glossy
00/00/00
http://127.0.0.1:5000/Media/images/related_images/70.57_R1.jpg
Sculpture
Veranda Post
Olowe of Ise, (ca. 1875 - ca. 1938)
Ise, Olowe of
Nigeria
ca. 1875 - ca. 1938
Male
56 x 132 x 10 in. (142.2 x 335.3 x 25.4 cm)
.
.
.
maximum
Wood
Wood
Yoruba; made in Nigeria
1910-1914
1910
1914
1900-2000, African art, female figures, sculpture, Yoruba
Sculpture
A royal wife stands with her hands resting on the heads of her twin daughters who hold their breasts in a Yoruba gesture of greeting, devotion and humility. This post was carved to decorate a courtyard veranda in the palace of the Ogoga of Ikere, one of the kings of Yorubaland. The courtyard served as an official area where the king received important visitors and conducted affairs of state. It was important that he show off his wealth, power and sophistication in this space.
This veranda post was carved by one of the most renowned sculptors in Africa, Olowe of Ise. His sculptures were so beautiful that some people believed Olowe harnessed the power of spirits who carved for him. Elaborate hairstyles and scarification patterns (look at the royal wife’s back) demonstrate Olowe’s technical mastery and reflect Yoruba standards of beauty. Traces of layered pigments indicate that these were once brightly painted and regularly refurbished.
[Gallery label text, 2009]
1971.13
item
Memorial Art Gallery
11/1/2000
71.13TR2
transparency
back pink
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
71.13TR4
transparency
3/4 view pink
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
71.13TR3
transparency
side
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
71.13TR1
transparency
front
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
71.13SL1
slide
full frontal
2 x 2
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71.13SL3
slide
full 3/4 left side
2 x 2
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71.13SL2
slide
full profile-right side
2 x 2
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glossy
full/F&B
8 x 10
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full
4 x 5
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71.13DI1
digital image
front
4 x 5
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71.13SL5
slide
detail
2 x 2
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71.13Di2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/71.13_A2.jpg
71.13DI3
digital image
Detail small figures at base
6/25/2009
http://127.0.0.1:5000/Media/images/71.13_A3.jpg
71.13DI#6
digital image
6/4/2012
http://127.0.0.1:5000/Media/images/71.13_A6.jpg
Painting
Aurélien-Marie Lugné-Poë (1869-1940)
Edouard Vuillard, (Cuiseaux, France, 1868 – 1940, La Baule-Escoublac, France)
Vuillard, Edouard
France
1868 - 1940
Male
8 3/4 x 10 1/2 in. (22.2 x 26.7 cm)
.
.
.
overall framed size
horizontal
frame
Oil
Oil
1891
1891
1891
1800-1900, 19th century, authors, men, paintings, portraits
Painting
This likeness captures the intense fervor of the artist's friend and patron, Aurélien-Marie Lugné-Poë (1869-1940), an actor and daring theatrical producer who helped Vuillard obtain his first commission for a theatrical poster. The artist's use of broad areas of flat color to define form and volume in this intimate portrait is typical of the Nabis painters, a group of artists influenced by Paul Gauguin and with whom Vuillard was aligned.
[Gallery label text, 1999]
initialed, lower left
1972.18
item
Memorial Art Gallery
4/5/2000
72.18TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
72.18SL1
slide
full
2 x 2
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negative
4x5
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glossy
8x10
00/00/00
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72.18DI1
digital image
Memorial Art Gallery
Imaging complete
6/26/2000
http://127.0.0.1:5000/Media/images/72.18_A1.jpg
72.18SL2
slide
photo of Lugne-Poe
2 x 2
00/00/00
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72.18DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
72.18_A2.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/72.18_A2.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/72.18_A3.jpg
72.18DI#4
digital image
8/31/2012
http://127.0.0.1:5000/Media/images/72.18_A4.jpg
Sculpture
Working Model for Three Piece No. 3: Vertebrae
Henry Spencer Moore, (Castleford, England, 1898 - 1986, Perry Green, England)
Moore, Henry Spencer
England
1898 - 1986
Male
41 5/8 x 93 x 48 in. (105.7 x 236.2 x 121.9 cm)
.
.
.
Bronze
Bronze
1968
1968
1968
Sculpture
on base, front right corner
1972.51
item
Memorial Art Gallery
3/10/2001
72.51CNEG1
negative
old location
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
72.51TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
72.51SL1
slide
full - 1996 view in Pavilion
2 x 2
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negative
full
4 x 5
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full
2 x 2.5
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glossy
full
8 x 10
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glossy
11x14
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72.51SL2
slide
full
00/00/00
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72.51SL3
slide
detail of vertebrae
2x2
00/00/00
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72.51DI1
digital image
2 x 2
00/00/00
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72.51DI2
digital image
2 x 2
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negative
full
5 x 7
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72.51DI3
digital image
Detail
5/25/2009
http://127.0.0.1:5000/Media/images/72.51_A3.jpg
72.51DI4
digital image
Detail
5/25/2009
http://127.0.0.1:5000/Media/images/72.51_A4.jpg
72.51DI5
digital image
Detail
5/25/2009
http://127.0.0.1:5000/Media/images/72.51_A5.jpg
72.51DI6
digital image
Detail
5/25/2009
http://127.0.0.1:5000/Media/images/72.51_A6.jpg
72.51DI7
digital image
in-situ- Gertrude Herdle Moore Sculpture Garden
00/00/00
http://127.0.0.1:5000/Media/images/72.51_A7.jpg
72.51DI8
digital image
in SculptureGarden11/72
00/00/00
http://127.0.0.1:5000/Media/images/72.51_A8.jpg
72.51DI9
digital image
in SculptureGarden11/72
00/00/00
http://127.0.0.1:5000/Media/images/72.51_A9.jpg
72.51DI10
digital image
in Sculpture Garden with original crate
00/00/00
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72.51DI11
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/72.51_R1.tif
72.51DI12
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/72.51_R2.tif
72.51Di13
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/72.51_R3.tif
72.51DI14
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/72.51_R4.tif
72.51DI#15
digital image
6/4/2012
http://127.0.0.1:5000/Media/images/72.51_A15.jpg
72.51DI#16
digital image
6/4/2012
http://127.0.0.1:5000/Media/images/72.51_A16.jpg
Painting
The Fox and the Heron
Frans Snyders and workshop, (Antwerp, 1579 - 1657, Antwerp)
Snyders, Frans
Flanders
1579 - 1657
Male
Artist
Workshop of Frans Snyders
Flanders
Male
Artist
47 1/8 x 61 1/4 in. (119.7 x 155.6 cm)
.
.
.
.
.
.
approximate installation dimensions
frame
Oil
Oil
ca. 1630-1640
1630
1640
1600-1800, 17th century, birds, fables & fairy tales, foxes, paintings
Painting
Monumental and decorative animal painting developed in Antwerp in the 17th century in the immediate circle of Rubens. Snyders, whose workshop was famous for this type of work, often also collaborated on the animals, flowers, and fruit in his friend Rubens's paintings. The rendering of materials such as the fur of the fox, the plumage of the bird, and the transparency of the glass jar add to the interest in texture.
"The Fox and the Heron" is a story from Aesop's Fables. In the background, the fox invites the heron for dinner and offers only a bowl of soup, impossible for the heron to eat. In the foreground, the heron in turn invites the fox. Dinner is served in a long-necked glass jar and the fox can only lick the outside.
Moral: One bad turn deserves another!
[Gallery label text, August 1996]
lower corners
1972.75
item
Memorial Art Gallery
1/22/2001
72.75TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
72.75SL1
slide
full
2 x 2
00/00/00
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negative
full
4 x 5
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glossy
full
8 x 10
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72.75DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/72.75_A1.jpg
72.75DI2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/72.75_A2.jpg
72.75DI#3
digital image
4/7/2009
http://127.0.0.1:5000/Media/images/72.75_A3.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/72.75_R1.jpg
Painting
Young Priestess
William-Adolphe Bouguereau, (La Rochelle, France, 1825 – 1905, La Rochelle, France)
Bouguereau, William-Adolphe
France
1825 - 1905
Male
71 1/4 x 32 in. (181 x 81.3 cm)
.
.
.
.
.
.
approximate installation dimensions
frame
Oil
Oil
1902
1902
1902
1900-2000, 20th century, Orientalism, paintings, women
Painting
Bouguereau's idealized figures, with their realistically-rendered surfaces and painstaking level of finish, show a technical mastery that still astonishes. Here the fluid fabrics of the priestess's garments and the drapery behind her contrast sharply with her pale flesh and the stone mosaic of the floor. The lack of context invites viewers to provide the figure with a narrative. This painting, completed when the artist was almost 80, demonstrates a return to the themes of classical antiquity that had been mainstays of his youthful work.
Bouguereau had a typical Academic education: he studied anatomy, classical literature and archaeology along with drawing and painting, and spent a year in Rome where he took inspiration from Renaissance artists. A member of the Academy throughout his career, his paintings were regularly included in the annual Salon exhibitions.
[Gallery label text, 2011]
1973.1
item
Memorial Art Gallery
1/17/2001
73.1TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
73.1SL1
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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73.1DI1
digital image
4 x 5
00/00/00
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73.1DI2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/73.1_A1.jpg
73.1DI3
digital image
4 x 5
00/00/00
http://127.0.0.1:5000/Media/images/73.1_A3.jpg
Sculpture
Standing Woman
Gaston Lachaise, 1882 - 1935
Lachaise, Gaston
United States
1882 - 1935
Male
65 in. (165.1 cm)
.
.
.
Bronze
Bronze
1928
1928
1928
1900-2000, 20th century, nudes, sculpture, women
Sculpture
"Standing Woman" was commissioned for the New York City apartment of Mr. and Mrs. O'Donnell Iselin, cousins of James Sibley Watson, Jr., one of Lachaise's most important patrons. Lachaise designed the sculpture knowing that the work was to be the centerpiece of a formal library, and would be placed on the mantel above the fireplace. He wrote that he "composed the figure in a spirit of tranquil elevation, harmonious to the purpose of the room."
Lachaise's most distinguished subjects are life sized draped female figures. The Memorial Art Gallery is fortunate to own two examples, the bronze Standing Woman and the stone Fountain Figure.
[Gallery label text, 2005]
base
Marie P. Charles
1973.75
item
Memorial Art Gallery
9/8/1999
73.75SL1
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
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negative
full
4 x 5
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73.75DI1
digital image
full
2 x 2
00/00/00
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73.75DI2
from conservation photo
digital image
full/front
00/00/00
http://127.0.0.1:5000/Media/images/73.75_A2.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/73.75_R1.jpg
digital image
00/00/00
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digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/73.75_R3.jpg
Painting
Genesee Oaks
Asher Brown Durand, 1796 - 1886
Durand, Asher Brown
United States
1796 - 1886
Male
28 1/4 x 42 in. (71.8 x 106.7 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
without frame
Oil
Oil
1860
1860
1860
1800-1900, 19th century, cows, Hudson River School, landscapes, paintings, rivers, trees in art, views of Rochester & western New York
Painting
Asher B. Durand was commissioned to paint this magnificent vista overlooking the Genesee River Valley in Geneseo, New York, by a member of the Wadsworth family, the village founders. At one time, they owned all the land from Geneseo to Rochester.
[Gallery label text, 2007]
No matter what the weather, this view across the Genesee Valley near Geneseo is as breathtaking now as it was over two hundred years ago, when landowner James S. Wadsworth commissioned Hudson River school founder Asher B. Durand to record the beauty of the landscape in a painting. In the summer of 1859, Durand traveled from New York City to the Genesee Valley to make preparatory sketches. Trained as an engraver, he recorded many of the details that he saw, but in addition, his personal belief in the immanence of the divine in the natural world motivated him to present a landscape that seems to extend infinitely.
Statuesque oak trees, many of which are still standing on the land, dominate the painting. In this region, the trees were more than a decorative feature. When the Wadsworths began to sell and lease land to local farmers, they included a clause in the contract requiring that a number of trees remain after the land was cleared. This was a holdover from British husbandry; the result was a countryside that was not only beautiful but that provided sun and moisture control for humans and animals alike. Genesee Oaks was Durand's tribute to the splendor of this valley.
[Gallery label text]
Durand visited the Genesee country but once, sketching in the Geneseo area during late June and July of 1859. Of his trip he wrote to his son in August: "With all my troubles I believe I have learnt more about the management of colors in the painting of trees than by all my previous practice, altho' I have never produced so little in the same span of time, not having made but four studies in five weeks."
During the following year, back in his studio, Durand painted Genesee Oaks, based on the sketches he had made. The painting was commissioned by James Samuel Wadsworth, a local squire, who owned the work when it was exhibited at the National Academy of Design in 1861. Seven oil studies done near Geneseo in 1859 are photographed in Durand's studio after 1878. A photograph shows three small sculptures of cows, two standing, one reclining that may have served as models for the animals in the painting.
Howard S. Merritt
Peters, Susan Dodge, ed. Memorial Art Gallery: An Introduction to the Collection. (Rochester, NY: The Memorial Art Gallery, 1988). p.182-3.
lower left
1974.5
item
Memorial Art Gallery
9/8/1999
74.5TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
74.5DI2
digital image
Memorial Art Gallery
8/25/2001
http://127.0.0.1:5000/Graphics/blank.gif
74.5SL1
slide
full
2 x 2
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4x5
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glossy
8x10
00/00/00
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74.5DI1
digital image
Memorial Art Gallery
Imaging complete
6/23/2000
http://127.0.0.1:5000/Media/images/74.5_A1.jpg
74.5SL2
slide
detail
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
color
1 x 1
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74.5DI3
digital image
00/00/00
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74.5_A2.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/74.5_A2.jpg
15durand1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/15durand1.tif
M425_p71.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_p71.tif
M425_p71_s250.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_p71_s250.tif
74.5DI2
digital image
with frame
00/00/00
http://127.0.0.1:5000/Media/images/74.5_A3.jpg
74..5DI4
digital image
Detail cows and figure under trees
00/00/00
http://127.0.0.1:5000/Media/images/74.5_A4.jpg
Painting
A Showery Day, Lake George
John Frederick Kensett, 1816 - 1872
Kensett, John Frederick
United States
1816 - 1872
Male
14 1/8 x 24 1/8 in. (35.9 x 61.3 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
without frame
Oil
Oil
ca. 1860
1855
1865
1800-1900, 19th century, boats, Hudson River School, lakes, landscapes, mountains, paintings, rain, weather & water
Painting
1974.29
item
Memorial Art Gallery
9/8/1999
74.29TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
74.29SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
74.29SL2
slide
detail
2 x 2
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glossy
8x10
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negative
4x5
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74.29DI1
digital image
Memorial Art Gallery
Imaging complete
6/23/2000
http://127.0.0.1:5000/Media/images/74.29_A1.jpg
74.29_A2.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/74.29_A2.jpg
74.29TR2
transparency
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
13kensett2.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/13kensett2.tif
M425_p66(10).tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_p66(10).tif
Painting
Newbury Hayfield at Sunset
Martin Johnson Heade, 1819 - 1904
Heade, Martin Johnson
United States
1819 - 1904
Male
11 1/4 x 25 3/16 in. (28.6 x 64 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
without frame
Oil
Oil
1862
1862
1862
1800-1900, 19th century, landscapes, paintings
Painting
lower left
1975.21
item
Memorial Art Gallery
9/8/1999
75.21TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
75.21SL1
slide
full
2 x 2
00/00/00
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glossy
8x10
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negative
showing frame
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
75.21DI1
digital image
Memorial Art Gallery
Imaging complete
7/13/2000
http://127.0.0.1:5000/Media/images/75.21_A1.jpg
75.21SL2
slide
detail
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
75.21TR2
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
M425_p77.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_p77.tif
M425_p77(10).tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_p77(10).tif
75.21DI#2
digital image
8/31/2012
http://127.0.0.1:5000/Media/images/75.21_A2.jpg
Print
The Great Horse
Albrecht Dürer, (Nuremberg, Germany, 1471 - 1528, Nuremberg, Germany)
Dürer, Albrecht
Germany
1471 - 1528
Male
Primary
6 9/16 x 4 3/4 in. (16.7 x 12.1 cm)
.
.
.
sheet
sheet
.
.
.
overall
frame
Printer's ink
Printer's ink
1505
1505
1505
1400-1600, armor, engravings, horses, Lockhart Collection, Renaissance & Baroque
Print
With his extensive knowledge of science, anatomy, and the natural world, Albrecht Dürer epitomized the ideals of the Renaissance. He was the greatest artistic genius of his time and essentially changed the conception of printmaking in Germany. Dürer learned the techniques for engraving from his family of goldsmiths, but was later apprenticed to Michael Wolgemut, a well-known Nuremberg painter and maker of woodcuts. He was uniquely placed to learn and work in engraving, woodcut, and painting, although without his brilliance, these opportunities would have been unfulfilled.
[Label text from It Came From the Vault exhibition, 2013]
lower right, in the plate, in the imageupper center, in the image, in the plateverso, L in a boxverso
1975.35
item
Memorial Art Gallery
5/12/2001
75.35SL1
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
4x5
00/00/00
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75.35DI1
digital image
4/8/2002
http://127.0.0.1:5000/Media/images/75.35_A1.jpg
75.35DI#2
digital image
6/4/2012
http://127.0.0.1:5000/Media/images/75.35_A2.jpg
Sculpture
Big Diamond
David Smith, 1906 - 1965
Smith, David
United States
3/9/1906 - 5/23/1965
Male
28 1/8 x 27 5/8 x 8 7/8 in. (71.4 x 70.2 x 22.5 cm)
.
.
.
overall
Steel
Steel
1952
1952
1952
1900-2000, 20th century, Charles Rand Penney Collection, sculpture
Sculpture
back member, with blind stamp
1975.300
item
Memorial Art Gallery
9/8/1999
75.300TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
75.300SL1
slide
full
2 x 2
00/00/00
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negative
4x5
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75.300DI1
digital image
Memorial Art Gallery
Imaging complete
7/10/2000
http://127.0.0.1:5000/Media/images/75.300_A1.jpg
75.300DI#2
digital image
11/22/2010
http://127.0.0.1:5000/Media/images/75.300_A2.jpg
digital image
Front
2/8/2011
http://127.0.0.1:5000/Media/images/Inventory pictures/75.300_I1.JPG
digital image
Back
2/8/2011
http://127.0.0.1:5000/Media/images/Inventory pictures/75.300_I2.JPG
digital image
From left
2/8/2011
http://127.0.0.1:5000/Media/images/Inventory pictures/75.300_I3.JPG
digital image
From right
2/8/2011
http://127.0.0.1:5000/Media/images/Inventory pictures/75.300_I4.JPG
Painting
Portrait of a Boy of the Bracciforte Family of Piacenza
Girolamo Mazzola Bedoli, (ca. 1505 - ca. 1569)
Abate, Niccolò dell'
Italy
1509-1512 - 1571
Male
Previous attribution
Bedoli, Girolamo Mazzola
Italy
ca. 1505 - ca. 1569
Male
65 x 34 5/8 in. (165.1 x 87.9 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
ca. 1560
1555
1565
1400-1600, angels, children, musical instruments (depictions), paintings, portraits, Renaissance & Baroque
Painting
Every pictorial element in this full-length portrait of a young boy refers to his aristocratic heritage and high status in society. His costume is made of a richly-textured fabric trimmed with buttons of gold; the elegant purse at his waist, his fashionable small plumed hat and the golden hilt of his sword attest to the wealth of his family. The coat of arms on the gilded medallion he holds in his right hand clearly identifies him as a member of the Bracciforte family of Piacenza, one of the richest cities in Renaissance Europe. A book, flute and allegorical statue of Fame, shown here as a winged figure holding two long, thin trumpets, are on a table at his right; they suggest the importance of education and music in the highest strata of Renaissance society.
For decades, this portrait was attributed to the painter Niccolò dell’Abate. Recent scholarship, however, has suggested that it is the work of Girolamo Mazzola Bedoli, who was well known for his portraits of the Farnese and other notable and aristocratic families in the Duchy of Piacenza as well as the nearby Duchy of Parma. These two duchies united only a few years after this portrait was painted.
[Gallery label text]
back of stretcherback of canvasback of canvas, 18th-century hand?back of canvas, 18th-century hand?back of frameback of canvasback of stretcherback of canvas, Circular pattern-- mark of old seal or stamp since removed or faded?
1976.13
item
Memorial Art Gallery
6/9/2000
76.13TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
76.13SL1
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full
2 x 2
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4x5
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76.13DI1
digital image
4 x 5
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76.13DI2
digital image
4 x 5
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76.13DI3
digital image
00/00/00
http://127.0.0.1:5000/Media/images/76.13_A2.jpg
76.13DI#4
digital image
4/18/2011
http://127.0.0.1:5000/Media/images/76.13_A3.jpg
76.13DI#5
digital image
Detail
4/18/2011
http://127.0.0.1:5000/Media/images/76.13_A4.jpg
76.13DI#6
digital image
Detail
4/18/2011
http://127.0.0.1:5000/Media/images/76.13_A5.jpg
76.13DI#7
digital image
Detail
4/18/2011
http://127.0.0.1:5000/Media/images/76.13_A6.jpg
76.13DI#8
digital image
Detail
4/18/2011
http://127.0.0.1:5000/Media/images/76.13_A7.jpg
Painting
The Visit (Le visite à la gardien)
Jean-Baptiste Le Prince, (Metz, 1734 - 1781, Saint-Denis)
Le Prince, Jean-Baptiste
France
1734 - 1781
Male
34 3/4 x 50 3/4 in. (88.3 x 128.9 cm)
.
.
.
Oil
Oil
1779
1779
1779
1600-1800, 18th century, horses, houses, landscapes, men, paintings, women
Painting
Le Prince studied with the rococo painter François Boucher and adopted his master's delicate manner and cool, pastel palette in his early work. Dating from late in his career, however, "The Visit" demonstrates a greater naturalism, reflecting the increasing popularity of seventeenth-century Dutch painting in eighteenth-century France. In this canvas, Le Prince has combined a genre scene with a panoramic landscape to suggest a gracious moment in everyday rural life. The subject of nobles visiting a peasant family would have appealed to the sense of humanity cultivated during the Enlightenment.
[Gallery label text, 2008]
lower left
1977.102
item
Memorial Art Gallery
1/25/2001
77.102TR2
transparency
8 x 10
00/00/00
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77.102TR1
transparency
4 x 5
00/00/00
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4 x 5
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77.102DI#2
digital image
6/4/2012
http://127.0.0.1:5000/Media/images/77.102_A2.jpg
Painting
Portrait of a Man Holding the Frontispiece to Dürer's "Small Passion"
Pietro Paolini, 1603 - 1681/1682
Paolini, Pietro
Italy
1603 - 1681-1682
Male
49 3/4 x 40 3/4 in. (126.4 x 103.5 cm)
.
.
.
Oil
Oil
1633-1637
1633
1637
1600-1800, 17th century, men, paintings, portraits
Painting
back of stretcherback of stretcherback of frameback of stretcherback of stretcherback of stretcherback of stretcherback of stretcher
1977.103
item
Memorial Art Gallery
1/22/2001
77.103TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
77.103SL1
slide
full
2 x 2
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4 x5
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77.103DI1
digital image
full
4 x 5
6/14/2002
http://127.0.0.1:5000/Media/images/77.103_A1.jpg
77.103DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
77.103DI3
digital image
full
4 x 5
00/00/00
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77.103SL2
slide
detail of hand w Durer
2 x 2
00/00/00
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77.103DI#3
digital image
7/10/2012
http://127.0.0.1:5000/Media/images/77.103_A3.jpg
Print
The Creation of the Universe (L'Univers est créé)
Paul Gauguin, 1848 - 1903
Gauguin, Paul
France
1848 - 1903
Male
8 x 13 7/8 in. (20.3 x 35.2 cm)
.
.
.
sheet
sheet
.
.
.
overall
frame
Printer's ink
Printer's ink
1893-1894
1893
1894
1800-1900, 19th century, creation stories, Lockhart Collection, woodcuts
Print
lower right, in the blocklower left, in the block
1977.147.1
item
Memorial Art Gallery
5/3/2001
77.147.1TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
77.147.1SL1
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full
2 x 2
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77.147.1DI1
digital image
4 x 5
00/00/00
http://127.0.0.1:5000/Media/images/77.147.1_A2.jpg
77.147.1DI#2
digital image
Memorial Art Gallery
1/9/2008
http://127.0.0.1:5000/Media/images/77.147.1_A1.jpg
Print
Portrait of Dr. Gachet
Vincent van Gogh, 1853 - 1890
Gogh, Vincent van
Netherlands
1853 - 1890
Male
13 x 9 11/16 in. (33 x 24.6 cm)
.
.
.
sheet
sheet
.
.
.
image
image
Printer's ink
Printer's ink
1890
1890
1890
1800-1900, 19th century, drypoint, etchings, Lockhart Collection, men, portraits
Print
upper right, in the image, in the plateupper right of verso, van Gelderlower center, Gachet family collector’s stamp, a red cat
1977.151
item
Memorial Art Gallery
2/4/2001
77.151TR1
transparency
2 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
77.151SL1
slide
full
2 x 2
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glossy
8x10
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glossy
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negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
77.151DI#2
digital image
3/13/2008
http://127.0.0.1:5000/Media/images/77.151_A2.jpg
77.151DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/77.151_A1.jpg
Painting
Pierrepont Edward Lacey (1832 - after 1860) and His Dog, Gun
Attributed to Milton W. Hopkins, 1789 - 1844
Hopkins, Milton W.
United States
1789 - 1844
Male
North, Noah
United States
1809 - 1880
Male
Previous Attribution
42 x 30 1/8 in. (106.7 x 76.5 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
Oil
Oil
1835-1836
1835
1836
1800-1900, 19th century, children, dogs, folk art, New York State & Local History, paintings, portraits
Painting
The Lacey family lived and farmed in Scottsville, New York, a small village south of Rochester on the Oatka Creek. Like many families of means, they used the services of a local artist to have their likenesses painted, since photography as we know it did not exist. For many years, this artist was thought to be Noah North, but recent scholarship points to Milton Hopkins, with whom North probably apprenticed. Painting was not Hopkins' sole occupation. As well, he farmed and was a carriage and sign painter, and was involved in anti-Masonic, abolitionist, and temperance politics.
Pierrepont Lacey was born in 1832, and like many little boys, he probably was not comfortable posing for a painting in his best clothes. The family dog, Gun, most likely didn't stand still for long, either, so it may have been quite a challenge for the artist to capture the likenesses of boy and dog. When Pierrepont was fifteen, his family moved to Marshall, Michigan. He grew up, married, and was the father of one son. Milton Hopkins moved to Ohio shortly after this portrait was painted, where he continued to paint portraits and work for the Underground Railroad.
[Gallery label text, 2000]
Like many young boys, Pierrepont Lacey was probably not comfortable posing for a painting dressed in his best suit and red shoes. Gun, the family dog, was most likely a restless subject for the artist to capture, as well.
There are six known portraits by Hopkins showing children dressed in their finest clothes, often accompanied by their dogs. All of the children’s parents were connected to the artist through their activities in anti-Masonic, abolitionist, and temperance politics.
MAG’s nearly full-size portrait is one of the most engaging likenesses done by Hopkins and has become an American folk art icon.
[Excerpted from gallery label text, Oct. 2011, Colleen Piccone, Curatorial]
The Lacey family, whose portraits are on view nearby, lived in this home at 9 Scottsville-Chili Road in Scottsville, New York in the 1830s, where it is believed their portraits were painted and first hung. Two children in this 1890s photograph were relatives of the Lacey family. The girl on the far left was Ruth Hanford (Munn), in whose memory the portraits were given to the Memorial Art Gallery.
The paintings were passed down through the generations in this family home until 1932, when they were presented on the occasion of a marriage and moved to a new home in Cambridge, Massachusetts. In 1978, the generous owners donated the group of family heirlooms to the Memorial Art Gallery, to be enjoyed by its many visitors.
[Excerpted from gallery text panel, Oct. 2011, Colleen Piccone, Curatorial}]
1978.189
item
Memorial Art Gallery
9/8/1999
78.189TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
78.189TR3
transparency
8 x 10
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78.189TR2
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2.5 x 2.5
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78.189SL1
slide
full
2 x 2
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78.189DI1
digital image
Memorial Art Gallery
Imaging complete
2/20/2001
http://127.0.0.1:5000/Media/images/78.189_A1.jpg
78.187DI2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/78.187-191_R1.jpg
78.189DI3
digital image
Memorial Art Gallery
Imaging complete
00/00/00
http://127.0.0.1:5000/Media/images/78.189_A2.jpg
78.189TR4
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
5hopkins1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/5hopkins1.tif
5hopkins1(10).tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/5hopkins1(10).tif
Musical Instrument
Slit Gong
Kayan-Borbor artist, (active )
Kayan-Borbor artist
Papua New Guinea
16 x 81 1/2 x 14 in. (40.6 x 207 x 35.6 cm)
.
.
.
Wood
Wood
Kayan-Borbor; made in Ramu River Region, Papua New Guinea
ca. 1940
1935
1945
1900-2000, musical instruments, Oceanic, Oceanic art (Pacific Islands)
Musical Instrument
The spiritual lives of Melanesian communities are dominated by Men’s Societies. The ceremonial Men’s House is the sacred dwelling place of the clan spirits, treasures, and of initiated men. Traditionally, slit-gong drums were located at the center of the Men’s House and functioned as musical instruments as well as a means of long-distance communication. A range of tones and sounds could be produced depending on the style of the beating stick and the varying thickness of the sides of the drum. In parts of New Guinea, the sounds produced by slit-gong drums were believed to be the voices of supernatural beings. Hollowed from a massive single tree, the sides of this drum are carved with a mix of butterfly, frog and fish motifs that are so stylized they can be difficult to discern.
[Gallery label text, 2009]
1979.19
item
Memorial Art Gallery
3/20/2001
negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
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79.19DI1
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00/00/00
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79.19SL1
slide
full
2 x 2
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79.19DI#3
digital image
front
6/18/2008
http://127.0.0.1:5000/Media/images/79.19_A3.jpg
79.19DI#2
digital image
Three-quarter
6/18/2008
http://127.0.0.1:5000/Media/images/79.19_A2.jpg
Drawing
Seated Woman
Rembrandt Harmensz. van Rijn, (Leiden, 1606 - 1669, Amsterdam)
Rijn, Rembrandt Harmensz. van
Netherlands
1606 - 1669
Male
4 7/8 x 3 7/16 in. (12.4 x 8.7 cm)
.
.
.
sheet
sheet
Black chalk
Black chalk
0
0
1600-1800, 17th century, drawing, Lockhart Collection, women
Drawing
1981.39
item
Memorial Art Gallery
2/13/2001
81.39SL1
slide
2 x 2
00/00/00
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full
8x10
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81.39DI1
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/81.39_A1.jpg
81.39DI#2
digital image
6/4/2012
http://127.0.0.1:5000/Media/images/81.39_A2.jpg
Painting
Floral Still Life
Rachel Ruysch, 1664/1665 - 1750
Ruysch, Rachel
Netherlands
1664-1665 - 1750
Female
45 1/8 x 34 3/8 in. (114.6 x 87.3 cm)
.
.
.
without frame
.
.
.
approximate installation dimensions
frame
.
.
.
approximate installation dimensions
frame
Oil
Oil
1686
1686
1686
1600-1800, 17th century, flowers in art, paintings, still lifes
Painting
lower left, on stoneback of stretcherback of stretcherback of stretcher, On cross-member of stretcher. See photo attached hereback of stretcher, See photo attached to Marks-->Surrogatesback of frameback of stretcherside of stretcher, Very modern
1982.9
item
Memorial Art Gallery
4/5/2000
82.9TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
82.9SL1
slide
full
2 x 2
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2 x 2
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detail signature
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82.9DI1
digital image
Memorial Art Gallery
Imaging complete
6/23/2000
http://127.0.0.1:5000/Media/images/82.9_A1.jpg
82.9DI2
digital image
Memorial Art Gallery
Imaging complete
00/00/00
http://127.0.0.1:5000/Media/images/82.9_A2.jpg
82.9DI4
digital image
Detail- artist signature
00/00/00
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82.9DI7
digital image
Detail Butterflies
00/00/00
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82.9DI#8
digital image
6/4/2012
http://127.0.0.1:5000/Media/images/82.9_A8.jpg
Painting
Cleopatra Captured by Roman Soldiers after the Death of Mark Antony
Bernard Duvivier, 1762 - 1837
Duvivier, Bernard
France
1762 - 1837
Male
45 x 58 in. (114.3 x 147.3 cm)
.
.
.
without frame
Oil
Oil
1789
1789
1789
1600-1800, 18th century, Cleopatra, narratives, paintings
Painting
Duvivier received his initial training in Bruges and then moved to Paris, where he assimilated the severe Neoclassical style perfected by Jacques-Louis David. In this early work, Duvivier combined the poses of several antique statues to illustrate an episode recounted in Plutarch's "Life of Mark Anthony." Following Anthony's suicide, a Roman soldier attempts to forestall the Egyptian queen's own death by promising that Octavian Caesar will show her clemency. The subtle, glowing colors, precise attention to detail, and impeccable draughtsmanship presage the artist's occasional work as a miniaturist.
[Gallery label text, 2008]
lower rightback of frameback of stretcherback of stretcher, Very modernback of stretcher, On crossbar of stretcher
1984.40
item
Memorial Art Gallery
4/5/2000
84.40TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
84.40SL1
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84.40DI1
digital image
Memorial Art Gallery
Imaging complete
6/26/2000
http://127.0.0.1:5000/Media/images/84.40_A1.jpg
84.40SL2
slide
details
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
84.40DI2.jpg
digital image
00/00/00
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Painting
The Beginning of the Fields
Fairfield Porter, 1907 - 1975
Porter, Fairfield
United States
1907 - 1975
Male
52 x 76 1/8 in. (132.1 x 193.4 cm)
.
.
.
without frame
.
.
.
approximate installation dimensions
frame
Oil
Oil
1973
1973
1973
1900-2000, 20th century, landscapes, paintings, roads
Painting
lower rightyes, in the stretcher
1986.132
item
Memorial Art Gallery
9/8/1999
86.132TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
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86.132DI1
digital image
Memorial Art Gallery
Imaging complete
6/23/2000
http://127.0.0.1:5000/Media/images/86.132_A1.jpg
71porter1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/71porter1.tif
86.132DI#3
digital image
4/17/2014
http://127.0.0.1:5000/Media/images/86.132_A2.jpg
Sculpture
Convergence
Albert Paley, (Philadelphia, Pennsylvania, 1944 - )
Paley, Albert
United States
1944
Male
107 x 77 1/2 x 16 1/2 in. (271.8 x 196.9 x 41.9 cm)
.
.
.
Steel
Steel
1987
1987
1987
1900-2000, 20th century, by Rochester artists, Craft, decorative arts, metalwork, School for American Craftsmen, sculpture
Sculpture
upright member on right side
Albert Paley
1987.61
item
Memorial Art Gallery
9/8/1999
87.61TR1
Transparency
Memorial Art Gallery
Front
2 x 2 3/4
00/00/00
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transparency
2 x 2.5
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full frontal
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negative
2 x 2
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87.61DI1
digital image
Memorial Art Gallery
Front
Imaging complete
2/2/2001
http://127.0.0.1:5000/Media/images/87.61_A1.jpg
87.61SL2
slide
3/4 from right
2 x 2
00/00/00
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Sculpture
Dr. Caligari
Wendell Castle, (Emporia, KS, 1932 - 2018, Scottsville, NY)
Castle, Wendell
United States
1932 - 2018
Male
92 1/2 x 31 1/2 x 26 1/2 in. (235 x 80 x 67.3 cm)
.
.
.
overall
Curly cherry veneer, ebony and gold-plated brass
Curly cherry veneer, ebony and gold-plated brass
1984
1984
1984
1900-2000, 20th century, by Rochester artists, clocks, Craft, decorative arts, School for American Craftsmen, sculpture
Sculpture
Dr. Caligari is among a series of thirteen clocks that Wendell Castle created in the 1980s. He made them at the suggestion of his dealer, who urged him to create a body of work that would challenge the critics’ association of Castle with functional furniture. Castle was particularly interested in the concept of time, and Dr. Caligari is a fanciful exploration of time travel. Its tall case is rich with connections to traditional grandfather clocks. It suggests either a trip to the past in an ancient obelisk, or to the future, in a rocket ship.
The title of the work was inspired by the angular set design of the 1920 German Expressionist film, The Cabinet of Dr. Caligari. The clock’s painted interior was intended to suggest the silent horror film’s unsettling mood. Castle and his longtime associate Don Sottile developed a smearing technique using India ink over gesso that gave the painted finish its distinctive feathered edges.
[Gallery label, summer 2015]
inside left doorinside case
Wendell Castle
1988.1
item
Memorial Art Gallery
9/8/1999
88.1TR1
Transparency
Memorial Art Gallery
Front
2 x 2 3/4
00/00/00
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88.1DI1
digital image
Memorial Art Gallery
Front
Imaging complete
2/5/2001
http://127.0.0.1:5000/Media/images/88.1_A1.jpg
88.1SL2
slide
full front-closed
2 x 2
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88.1SL3
slide
still from film Dr. Calligari
2 x 2
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881.DI#2
digital image
interior
5/27/2005
http://127.0.0.1:5000/Media/images/Inventory pictures/88.1_I2.jpg
881.DI#3
digital image
interior
5/27/2005
http://127.0.0.1:5000/Media/images/Inventory pictures/88.1_I3.jpg
881.DI#4
digital image
interior
5/27/2005
http://127.0.0.1:5000/Media/images/Inventory pictures/88.1_I4.jpg
88.1DI#2
digital image
6/4/2012
http://127.0.0.1:5000/Media/images/88.1_A2.jpg
Painting
Peeling Onions
Lilly Martin Spencer, 1822 - 1902
Spencer, Lilly Martin
United States
1822 - 1902
Female
36 x 29 in. (91.4 x 73.7 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
Oil
Oil
ca. 1852
1847
1857
1800-1900, 19th century, food, genre scenes, home life, jobs & work, paintings, women
Painting
lower left, in frontmost peach. Second numeral unclear.
1988.6
item
Memorial Art Gallery
9/8/1999
88.6TR1
Transparency
Memorial Art Gallery
4 x 5
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88.6DI1
digital image
Memorial Art Gallery
Imaging complete
7/13/2000
http://127.0.0.1:5000/Media/images/88.6_A1.jpg
88.6DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
88.6DI3
digital image
Memorial Art Gallery
Imaging complete
00/00/00
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88.6_A3.jpg
digital image
00/00/00
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10spencer1.tif
digital image
00/00/00
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Painting
The Sculpture Gallery
Sir Lawrence Alma-Tadema, (Dronerijp, the Netherlands, 1836 - 1912, Wiesbaden, Germany)
Alma-Tadema, Lawrence
Netherlands
1836 - 1912
Male
30 1/4 x 23 1/4 in. (76.8 x 59.1 cm)
.
.
.
approximate installation dimensions
frame
Oil
Oil
1875
1875
1875
1800-1900, 19th century, children, men, Orientalism, paintings, women
Painting
Alma-Tadema is known for his historical and anecdotal scenes set in classical antiquity or medieval Europe. The Sculpture Gallery is one of a number of scenes showing patrons at an ancient art gallery or sculptor’s studio. Here a slave—recognizable by the tablet hanging around his neck—displays a basin ornamented with Scylla, the mythological sea-serpent. The 19th-century collecting audience could likely identify the "Infant Hercules Struggling with a Snake," from the Capodimonti Museum in Naples at the left, and on the right, the statue of Helen, mother of Emperor Constantine, from the Capitoline museum in Rome. The Roman visitors are modelled on members of Alma-Tadema's family, including the artist’s wife and children, at the center.
The artist travelled widely and visited historic sites, gaining a reputation for his accuracy in depicting ancient settings and artifacts. However, it was modern technology that helped him achieve this renown: the artist collected professional photographs of artworks and artifacts found on archaeological digs, using these images as the basis for his scenes.
[Gallery label text, 2011]
upper leftback of panel,
back of panelback of panelback of panel, also appears at least twice on back of frameback of panel, Partly torn away.back of frameback of frameback of frame, Partly obscured by a labelback of frameback of frameback of frameback of frame
1989.45
item
Memorial Art Gallery
11/2/2000
89.45TR1
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4 x 5
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digital image
4 x 5
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89.45DI#2
digital image
4/7/2009
http://127.0.0.1:5000/Media/images/89.45_A2.jpg
Drawing
Geraniums
Odilon Redon, (Bordeaux, France, 1840 - 1916, Paris)
Redon, Odilon
France
1840 - 1916
Male
19 13/16 x 15 7/8 in. (50.3 x 40.3 cm)
.
.
.
sheet
sheet
.
.
.
overall
frame
Pastel
Pastel
1902
1902
1902
1900-2000, 20th century, drawing, flowers in art, Lockhart Collection
Drawing
lower right, in the image
1989.50
item
Memorial Art Gallery
2/22/2001
89.50TR1
transparency
4 x 5
00/00/00
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4 x 5
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89.50DI2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/89.50_A1.jpg
Painting
Summer Street Scene in Harlem
Jacob Lawrence, 1917 - 2000
Lawrence, Jacob
United States
1917 - 2000
Male
20 1/16 x 24 1/8 in. (51 x 61.2 cm)
.
.
.
without frame
image
.
.
.
overall framed size
horizontal
frame
Tempera
Tempera
1948
1948
1948
1900-2000, 20th century, cityscapes, Images of Black People, New York city, paintings, Social Realism
Painting
Jacob Lawrence put his own stylistic innovations on the flattened surfaces, distorted shapes, and bold colors of modernism. Here his vibrant palette and energetic composition express the joy and vitality of a summer in Harlem. Children play with their soap box and approach a shaved ice vendor; adults gather in conversation. Lawrence moved to Harlem with his family at the age of twelve, and he was greatly influenced by the creative community flourishing there.
Lawrence chronicled the lives, accomplishments, and challenges experienced by Black communities in the United States. His best-known series, The Migration of the Negro (1941), depicted the mass movement of Black people who relocated from the American South to the North, Midwest, and West in search of economic and social mobility. Lawrence’s parents themselves moved to the North in this exodus known as the Great Migration, which took place from the 1910s through the 1970s.
[Gallery label text, 2024]
lower rightback of panel, Undated; from 1974-75 exhibitionback of panel, partly covered by another labelback of panelback of panelback of panelback of panelback of panelback of panel, orange tag with black printing
Jacob and Gwendolyn Lawrence
1991.5
item
Memorial Art Gallery
9/8/1999
91.5TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
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91.5CNEG1
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91.5DI1
digital image
Memorial Art Gallery
Imaging complete
6/23/2000
http://127.0.0.1:5000/Media/images/91.5_A1.jpg
68lawrence1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/68lawrence1.tif
M425_p271.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_p271.tif
Painting
Towing a Boat, Honfleur
Claude Monet, (Paris, 1840 – 1926, Giverny, France)
Monet, Claude
France
1840 - 1926
Male
21 3/4 x 32 5/16 in. (55.2 x 82.1 cm)
.
.
.
overall
horizontal
traveling frame
.
.
.
overall
stretcher
.
.
.
frame
Oil
Oil
1864
1864
1864
1800-1900, 19th century, boats, men, paintings, seascapes
Painting
"All that is painted directly, at a given moment, has a force, power, and vitality which can never be duplicated in a studio." --Eugène Boudin, to his student Claude Monet
Claude Monet’s early paintings were solidly grounded in the work of the preceding generation of French landscape painters called the Barbizon school. Their insistence on painting en plein air, or out of doors, led to Monet’s passion for capturing the transience of light.
Towing a Boat, Honfleur, painted ten years before the term Impressionism was coined, captures the moment that night overtakes sunset. It is one of the earliest of Monet’s many seascapes. As an experiment in reproducing the changing effects of light under different atmospheric conditions, the painting shows his process of abstracting nature into simplified forms and exaggerated color contrasts.
[Label copy from Monet: Vision and Process exhibition, 2018]
lower leftback of frame
1991.35
item
Memorial Art Gallery
8/8/2000
91.35CPRT1
glossy
5 x 7
00/00/00
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91.35TR1
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4 x 5
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4 x 5
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91.35DI3
digital image
00/00/00
http://127.0.0.1:5000/Media/images/91.35_A3.jpg
91.35DI#2
digital image
Memorial Art Gallery
1/9/2008
http://127.0.0.1:5000/Media/images/91.35_A2.jpg
Painting
The Linen
Pierre Bonnard, (Fontenay-aux-Roses, France, 1867 – 1947, Le Cannet, France)
Bonnard, Pierre
France
1867 - 1947
Male
19 5/8 x 25 1/2 in. (49.8 x 64.8 cm)
.
.
.
.
.
.
approximate installation dimensions
frame
Oil
Oil
1909
1909
1909
1900-2000, 20th century, genre scenes, paintings, women
Painting
As an art student in Paris, Bonnard became affiliated with the Nabis, or Prophets. This group of young artists was influenced by Paul Gauguin's belief that a painting should be a product of the imagination rather than a mere copy of nature. Influenced also by Gauguin's style, the Nabis simplified form and used color boldly and expressively.
After the turn of the century, Bonnard refined these principles, developing a personal, decorative, and highly subjective style. As in this scene, his pictures of everyday life often featured his wife. Painting from memory in his studio, Bonnard freely modified form and heightened color to express the beauty he recalled in nature.
[Gallery label text, 1999]
lower centerback of frameback of frameback of panel, Note European-style 7 with line through center
1991.36
item
Memorial Art Gallery
1/17/2001
91.36SL1
slide
full
2 x 2
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91.36DI1
digital image
full
2 x 2
00/00/00
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91.36DI#2
digital image
3/25/2008
http://127.0.0.1:5000/Media/images/91.36_A2.jpg
Painting
A Mill Wheel (Une roue de moulin)
Jean-Baptiste-Camille Corot, 1796 - 1875
Corot, Jean-Baptiste-Camille
France
1796 - 1875
Male
8 5/8 x 13 3/16 in. (21.9 x 33.5 cm)
.
.
.
stretcher
stretcher
.
.
.
approximate installation dimensions
frame
Oil
Oil
ca. 1840-1845
1840
1845
1800-1900, 19th century, architecture in art, landscapes, Lockhart Collection, mills, paintings
Painting
Corot’s practice of painting directly from nature lasted throughout his long career. His ability to paint the transitory effects of light with subtlety and sensitivity is most characteristic in his landscapes. The simple composition of The Mill Wheel, with its subtle tonal and almost monochromatic color gradations, also shows Corot’s interest in the new medium of photography.
back of canvasback of canvasback of stretcher
1991.80
item
Memorial Art Gallery
2/20/2001
91.80TR1
transparency
2 x 3
00/00/00
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91.80SL1
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2 x 2
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91.80DI1
digital image
2 x 3
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91.80DI#2
digital image
3/25/2008
http://127.0.0.1:5000/Media/images/91.80_A2.jpg
Painting
The Sierras Near Lake Tahoe, California
Albert Bierstadt, 1830 - 1902
Bierstadt, Albert
United States
1830 - 1902
Male
14 15/16 x 21 1/16 in. (38 x 53.5 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
without frame
Oil
Oil
1865
1865
1865
1800-1900, 19th century, deer, landscapes, mountains, paintings
Painting
Bierstadt was one of the most gifted artists to depict the stunning mountain views of the expanding frontier, far west of the Hudson River region that had inspired earlier American landscape painters. He was a member of the generation of artist-explorers who traveled with expeditions or in their footsteps and recorded the visual experience. MAG's painting quietly but masterfully convinces us of the grandeur of mountains and sky by including the tiny deer to give a sense of scale, and by suffusing the surface of the painting with a warm, glowing palette.
lower leftverso, centerverso, upper left, 'No.' is painted over an illegible word.verso
1992.78
item
Memorial Art Gallery
9/8/1999
92.78TR1
Transparency
Memorial Art Gallery
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92.78DI1
digital image
Memorial Art Gallery
Imaging complete
6/26/2000
http://127.0.0.1:5000/Media/images/92.78_A1.jpg
92.78SL2
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detail-slightly cropped
2 x 2
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00/00/00
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M425_p85(10).tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_p85(10).tif
Painting
Genesee Scenery
Thomas Cole, 1801 - 1848
Cole, Thomas
United States
1801 - 1848
Male
6 1/4 x 4 3/8 in. (15.9 x 11.1 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
without frame
Oil
Oil
1846-1847
1846
1847
1800-1900, 19th century, bridges, Hudson River School, landscapes, paintings, rivers, views of Rochester & western New York, waterfalls
Painting
Like many artists, Thomas Cole traveled extensively, sketching views that he would later include in finished (and much larger) paintings. On a trip to the Upstate New York region, he sketched Deh-ga-ya-soh Creek at what is now Letchworth State Park in Mount Morris. Later that year, he used the sketch to create this study, which ultimately became the subject of the 'Genesee Scenery' (1847, 51 x 39 1/2 inches, owned by the Museum of Art, Rhode Island School of Design).
[Adapted from gallery label text, 2007]
1994.40
item
Memorial Art Gallery
9/8/1999
94.40TR1
Transparency
Memorial Art Gallery
2 1/4 x 2 3/4
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
94.40TR2
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
94.40DI2
digital image
Rhode Island School of Design
11/26/2001
http://127.0.0.1:5000/Media/images/related_images/94.40_R1.jpg
94.40SL1
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94.40DI1
digital image
Memorial Art Gallery
Imaging complete
6/26/2000
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94.40DI3
digital image
00/00/00
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94.40DI4
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digital image
00/00/00
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00/00/00
http://127.0.0.1:5000/Media/images/related_images/94.40_R17.jpg
9cole1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/9cole1.tif
9cole1(10).tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/9cole1(10).tif
9cole5.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/9cole5.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/94.40_R18.jpg
Sculpture
Two Lines Up Excentric - Twelve Feet
George Rickey, (South Bend, IN, 1907 - 2002, St. Paul, MN)
Rickey, George
United States
1907 - 2002
Male
231 15/16 x 266 in. (589.2 x 675.6 cm)
.
.
.
Radius
.
.
.
vertical
Blades
.
.
.
maximum
Stainless steel
Stainless steel
1994
1994
1994
1900-2000, 20th century, sculpture
Sculpture
bottom of main support
George Rickey
1994.44
item
Memorial Art Gallery
9/8/1999
94.44TR1
Transparency
Memorial Art Gallery
Front, 3/4
2 1/4 x 2 3/4
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
94.44TR2
Transparency
Memorial Art Gallery
Front, 3/4
2 1/4 x 2 3/4
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
94.44TR3
Transparency
Memorial Art Gallery
Front, 3/4
2 1/4 x 2 3/4
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
94.44TR4
transparency
Front, 3/4
2 1/4 x 3 3/4
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
94.44TR5
transparency
Front, 3/4
2 1/4 x 3 3/4
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
94.44TR6
transparency
Front, 3/4
2 1/4 x 3 3/4
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
94.44SL1
slide
full
2 x 2
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glossy
8 x 10
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
94.44DI1
digital image
Memorial Art Gallery
Imaging complete
8/3/2000
http://127.0.0.1:5000/Media/images/94.44_A2.jpg
94.44DI2
digital image
Memorial Art Gallery
Imaging complete
8/3/2000
http://127.0.0.1:5000/Media/images/94.44_A3.jpg
94.44DI3
digital image
Memorial Art Gallery
Imaging complete
8/3/2000
http://127.0.0.1:5000/Media/images/94.44_A1.jpg
negative
2 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
94.44DI4
digital image
Memorial Art Gallery
Imaging complete
10/8/2009
http://127.0.0.1:5000/Media/images/94.44_A4.JPG
00/00/00
http://127.0.0.1:5000/Media/images/94.44_A5.jpg
glossy
in situ May 1995
5 x 7
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
94.44DI#5
digital image
6/12/2013
http://127.0.0.1:5000/Media/images/94.44_A6.jpg
Painting
Famous Names
Jaune Quick-to-See Smith, (Saint Ignatius, MT, 1940 - )
Smith, Jaune Quick-to-See
United States
1940
Female
80 x 50 in. (203.2 x 127 cm)
.
.
.
without frame
Oil
Oil
1998
1998
1998
1900-2000, 20th century, paintings
Painting
Jaune Quick-To-See Smith’s collaged paintings incorporate the desert colors of her childhood with the spontaneous brushwork of Abstract Expressionism. She has said about her work:
My art, my life experience, and my tribal ties are totally enmeshed. I go from one community with messages to the other, and I try to enlighten people.
Famous Names accomplishes Smith’s self-appointed task. The canvas is dominated by the image of a traditional Native American buckskin dress. The photographs and text around this central form refer to stereotypes that the dominant non-Native culture has used to describe Native Americans as simultaneously exotic and ridiculous, and to marginalize them. As Seneca artist and site manager of Ganondagan
G. Peter Jemison writes in an essay on this painting, the “famous names” referenced in the title offer a composite of “a record of people with ancient ties to the land and of the often-bungled attempts of English-speaking writers to capture what a translator related.”
[Summer 2015]
Jaune Quick-to-See-Smith
1998.39
item
Memorial Art Gallery
10/18/1999
98.39TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
98.39SL1
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
98.39DI1
digital image
Memorial Art Gallery
Imaging complete
7/10/2000
http://127.0.0.1:5000/Media/images/98.39_A1.jpg
98.39DI2
digital image
Memorial Art Gallery
Imaging complete
00/00/00
http://127.0.0.1:5000/Media/images/98.39_A2.jpg
72smith1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/72smith1.tif
M425_p288.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_p288.tif
Glass
Stained Glass Window
Tiffany Studios, (active )
Tiffany Studios
United States
Primary
36 x 19 in. (91.4 x 48.3 cm)
.
.
.
Glass
Glass
1882
1882
1882
1800-1900, 19th century, Craft, glass, stained glass
Glass
Rochester tycoon William Kimball, owner of the Kimball Tobacco Factory, hired Louis Comfort Tiffany to design the interior of his home and its furnishings at 145 Troup Street in Corn Hill. The opulent residence, called Kimball’s Castle, housed an art collection and a pipe organ. The window installed here was rescued by Harold Rand during the building’s unfortunate demolition in 1948.
Our thanks go to Valerie O’Hara from Pike Stained Glass Studio for her generous conservation of the window.
[Gallery label text, 2002]
1998.69
item
Memorial Art Gallery
10/22/1999
98.69SL1
slide
full-post conservation
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
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full-post conservation
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
98.69SL2
slide
full-pre conservation
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
98.69TR1
transparency
full-post conservation
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
98.69DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/98.69_A1.jpg
98.69DI#2
digital image
6/4/2012
http://127.0.0.1:5000/Media/images/98.69_A2.jpg
98.69DI#3
digital image
6/4/2012
http://127.0.0.1:5000/Media/images/98.69_A3.jpg
Painting
The Printseller's Window
Walter Goodman, (London, 1838 - 1912, London)
Goodman, Walter
England
1838 - 1912
Male
52 1/4 x 44 3/4 in. (132.7 x 113.7 cm)
.
.
.
Oil
Oil
1883
1883
1883
1800-1900, 19th century, jobs & work, men, paintings, trompe l'oeil
Painting
Painted in the illusionistic technique of trompe l’oeil (French for “fool the eye),” The Printseller depicts a heavily-bearded shopkeeper cradling a small statuette of Cupid. The display case before him contains a variety of objects, including prints, books, coins in a porcelain dish, a magnifying glass, a wineglass, a strand of pearls and a metal tankard. Many of the prints are reproductions of famous paintings that would have been familiar to Walter Goodman’s audience of the early 1880s.
A string of small photographs called cartes-de-visites stretches across the display case. These small photographic portraits, sized to mount on a visiting card, became extremely popular; a craze developed for collecting the cartes of celebrities as well as family and friends. Here, each represents a famous Victorian painter of Goodman’s time, including John Everett Millais, Rosa Bonheur, and Lawrence Alma-Tadema (fourth, sixth, and ninth from the left, respectively). A larger photographic portrait of the famous art critic John Ruskin is located in the center directly below the string of cartes.
Although relatively unknown, Walter Goodman was an interesting and practiced artist with a varied career as a portraitist, illustrator and writer. Of Jewish heritage, he was the son of portraitist Julia Salaman Goodman. He was widely traveled and an intimate member of London’s theatrical society. He exhibited at the Royal Academy and the British Institution.
lower rightback of stretcher, per 1999 conservation report; partial label, mostly illegible. [possibly The London, Brighton and South Coast Railway (LB&SCR), a railway company in the UK from 1846 to 1923? ran to Victoria Station, London]back of stretcher, per 1999 conservation reportback of stretcher, per 1999 conservation reportback of stretcher, per 1999 conservation reportback of stretcher, per 1999 conservation report. Inscription has been effaced.back of stretcher, per 1999 conservation report.back of canvas, per 1999 conservation report. back of canvas, per 1999 conservation report. back of canvas, per 1999 conservation report.back of stretcher, per 1999 conservation report; partial label, mostly illegible [possibly So. Kensington Museum?]back of stretcher, scratched into the wood
1998.75
item
Memorial Art Gallery
10/21/1999
98.75TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
98.75SL1
slide
full
2 x 2
00/00/00
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negative
4x5
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http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
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98.75DI1
digital image
Memorial Art Gallery
Imaging complete
7/13/2000
http://127.0.0.1:5000/Media/images/98.75_A1.jpg
98.75DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
98.75DI3
digital image
Memorial Art Gallery
Imaging complete
00/00/00
http://127.0.0.1:5000/Media/images/98.75_A2.jpg
98.75DI4
digital image
detail
00/00/00
http://127.0.0.1:5000/Media/images/98.75_A3.jpg
98.75DI#5
digital image
4/7/2009
http://127.0.0.1:5000/Media/images/98.75_A4.jpg
Sculpture
The Admiral's Game
Joseph Cornell, 1903 - 1972
Cornell, Joseph
United States
1903 - 1972
Male
12 x 18 x 4 in. (30.5 x 45.7 x 10.2 cm)
.
.
.
overall
Mixed media
Mixed media
ca. 1950
1945
1955
1900-2000, 20th century, sculpture, still lifes
Sculpture
Romantic and enigmatic, Joseph Cornell’s boxes are filled with fragments of found materials. In The Admiral’s Game, the parallel rods that hold a pair of white balls might suggest a playful arcade game or the timeless and profound idea of an all-powerful creator setting the planets in motion.
Cornell made his highly symbolic and mysterious creations at the home that he shared with his mother and brother in Queens, New York. While Cornell was reclusive and essentially an outsider in the art world, his work influenced many important American artists, including Robert Rauschenberg, Jasper Johns, Andy Warhol, and Marcel Duchamp.
[Summer 2015]
1998.77
item
Memorial Art Gallery
10/20/1999
98.77TR1
Transparency
Memorial Art Gallery
2 1/4 x 2 3/4
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
98.77SL1
slide
full
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
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
98.77DI1
digital image
Memorial Art Gallery
Imaging complete
8/28/2000
http://127.0.0.1:5000/Media/images/98.77_A1.jpg
98.77TR2
Transparency
Memorial Art Gallery
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
98.77DI#2
digital image
6/4/2012
http://127.0.0.1:5000/Media/images/98.77_A2.jpg
Furniture
Shrine Coffin of Pa-debehu-Aset
Egyptian artist
Egyptian artist
Egypt
Primary
80 5/16 x 25 9/16 x 27 3/4 in. (204 x 65 x 70.5 cm)
.
.
.
overall
Wood
Wood
332 BCE-30 BCE
332 BCE
30 BCE
1000 BCE - 500 CE, coffins & sarcophagi, Egyptian, funerary objects
Furniture
This pair of nesting coffins once held the mummy of Pa-debehu-Aset, an Egyptian official from the city of Asyut, midway down the River Nile.
Pa-debehu-Aset’s mummy, now lost, would have been placed in the anthropoid, or human-shaped, coffin. The anthropoid coffin would have nested in and been protected by the rectangular outer coffin, called a shrine coffin because it resembles the sacred shrine of a god. Both of Pa-debehu-Aset’s coffins are decorated with images and symbols of the gods, goddesses, spells and prayers that would guide his soul into the afterlife.
Like all ancient Egyptians, Pa-debehu-Aset believed that the mummy was the eternal dwelling place for the spirits of the deceased. The divine powers of gods and goddesses would protect him during his life and after his death. Because of its human shape, the anthropoid coffin could serve as a substitute body should Pa-debehu-Aset’s mummy be destroyed.
[Gallery label text, 2009]
2000.11.1
item
Memorial Art Gallery
1/25/2002
2000.11.1SL1
slide
full, left side
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/2000.11.1_side2.jpg
2000.11.1TR2
transparency
full, right side
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
2000.11.1TR1
transparency
full, left side
4 x 5
00/00/00
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glossy
8 x 10
00/00/00
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negative
4 x 5
00/00/00
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2000.11.1SL4
slide
detail, left side
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/2000.11.1_detail.jpg
2000.11.1SL3
slide
3/4 with end
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/2000.11.1.jpg
2000.11.1SL2
slide
full, right side
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/2000.11.1_side.jpg
2000.11.1TR3
transparency
3/4 with end
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
2000.11.1DI3
digital image
3/4 with end
1/30/2002
http://127.0.0.1:5000/Media/images/2000.11.1_A3.jpg
2000.11.1DI2
digital image
side view
2 x 2
1/30/2002
http://127.0.0.1:5000/Media/images/2000.11.1_A2.jpg
2000.11.1DI1
digital image
side view
2 x 2
1/30/2002
http://127.0.0.1:5000/Media/images/2000.11.1_A1.jpg
2000.11.1DI4
digital image
detail
1/30/2002
http://127.0.0.1:5000/Media/images/2000.11.1_A4.jpg
2000.11.1SL5
slide
detail, base
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
2000.11.1SL6
slide
detail, single figure top center
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
2000.11.1SL7
slide
detail, 2 figures on left side
2 x 2
00/00/00
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2001.11.1SL4
slide
at dealers
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Print
Evian
Jasper Johns, (Augusta GA, 1930 - )
Johns, Jasper
United States
1930
Male
43 1/2 x 29 1/2 in. (110.5 x 74.9 cm)
.
.
.
overall
vertical
image
.
.
.
sheet
Printer's ink
Printer's ink
1972
1972
1972
1900-2000, 20th century, circle, lithographs
Print
lower left, below imagelower left, below imagelower left corner, Publisher's markversoversoverso
2002.26
item
Memorial Art Gallery
10/24/2002
2002.26DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2002.26_A1.jpg
2002.26SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
2002.26DI#2
digital image
6/4/2012
http://127.0.0.1:5000/Media/images/2002.26_A2.jpg
Mixed Media
Monument
Christian Boltanski, (Paris, France, 1944 - 2021, Paris, France)
Boltanski, Christian
France
1944 - 2021
Male
77 x 59 in. (195.6 x 149.9 cm)
.
.
.
overall
1986
1986
1986
Mixed Media
The faces of the children included in Christian Boltanski’s Monument seem eerily familiar. While the scale of this piece and the arrangement of the images is reminiscent of a memorial, these same eyes could peer out at us from photo albums or yearbooks; faces of individuals who are still alive but no longer young. Boltanski, who is fascinated with the suggestive power of imagery and the role of memory in shaping our relationship with his work, has said, “What drives me as an artist is that I think everyone is so unique, yet everyone disappears so quickly.”
[Hawks Gallery reinstallation, summer 2019]
2004.13
item
Memorial Art Gallery
8/23/2004
2004.13DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2004.13_A1.jpg
2004.13DI#2
digital image
9/12/2019
http://127.0.0.1:5000/Media/images/2004.13_A2.jpg
Painting
Pittsford on the Erie Canal
George Harvey, 1800 - 1878
Harvey, George
United States
1800 - 1878
Male
17 1/2 x 23 1/2 in. (44.5 x 59.7 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
without frame
Oil
Oil
1837
1837
1837
Painting
This scene is thought to be in the vicinity of King’s Bend Park just outside of Pittsford Village.
[Gallery label text, 2007]
lower right
2005.33
item
Memorial Art Gallery
5/20/2005
2005.33DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/2005.33_I1.jpg
2005.33det1DI2
digital image
Detail
00/00/00
http://127.0.0.1:5000/Media/images/2005.33_A2.jpg
2005.33det2DI3
digital image
Detail
00/00/00
http://127.0.0.1:5000/Media/images/2005.33_A3.jpg
2005.33det3DI4
digital image
Detail
00/00/00
http://127.0.0.1:5000/Media/images/2005.33_A4.jpg
2005.33DI2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2005.33_A6.jpg
2005.33SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
2005.33TR1
transparency
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
2005.33.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/2005.33.tif
M425_A.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/M425_A.tif
6harvey1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/6harvey1.tif
2005.33DI#5
digital image
1/20/2006
http://127.0.0.1:5000/Media/images/2005.33_A5.jpg
2005.33DI#6
digital image
11/1/2005
http://127.0.0.1:5000/Media/images/2005.33_A7.jpg
2005.33DI#7
digital image
1/7/2014
http://127.0.0.1:5000/Media/images/2005.33_A8.jpg
Painting
The Entombment
Luca Giordano, 1634 - 1705
Giordano, Luca
Italy
1634 - 1705
Male
115 1/4 x 79 1/2 in. (292.7 x 201.9 cm)
.
.
.
Oil
Oil
1650-1653
1650
1653
Painting
Originally an altarpiece, this painting illustrates the New Testament scene of the Entombment of Christ, one of the most emotional and dramatic events in the Christian faith. Joseph of Arimathea, who is holding Jesus and clasping him in a shroud, and Nicodemus, who supports Jesus’ legs, are placing him in a stone sarcophagus. Saint John the Evangelist, cloaked in red, is in the foreground with his back to the viewer. Christ’s mother, the Virgin Mary, dressed in a blue robe, collapses in despair at the left. She is surrounded by Holy Women, including Mary Magdalene who wrings her hands in sorrow. Other grieving figures in the background of the painting engage each other in conversation, enhancing both the devotional and dramatic character of the painting.
Luca Giordano was one of the most celebrated artists in Naples. He produced a huge quantity of work, including altarpieces, mythological paintings and decorative fresco cycles. Giordano was internationally successful and traveled widely, working in Naples, Venice, Florence and Madrid. This altarpiece was painted early in Giordano’s career when he was only in his late teens. It shows the influence of the equally well-known and prolific painter Jusepe de Ribera, with whom he may have trained.
[Gallery label]
2005.34
item
Memorial Art Gallery
6/1/2005
2005.34DI4
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2005.34_A4.jpg
2005.34DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2005.34_A1.jpg
2005.34DI2
digital image
detail
00/00/00
http://127.0.0.1:5000/Media/images/2005.34_A2.jpg
2005.34DI3
digital image
detail
00/00/00
http://127.0.0.1:5000/Media/images/2005.34_A3.jpg
2005.34TR1
transparency
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
2005.34DI1
stretcher
digital image
back detail
00/00/00
http://127.0.0.1:5000/Media/images/Conservation photos/2005.34 Giordano/2005.34 stretcher back detail.jpg
2005.34SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Arms and Armor
Partial Armor made for the Dukes of Brunswick-Wolfenbüttel
Brunswick Armory artist
Brunswick Armory artist
Germany
Primary
49 x 24 x 20 in. (124.5 x 61 x 50.8 cm)
.
.
.
overall
helmet
.
.
.
overall
collar (gorget)
.
.
.
overall
breastplate
.
.
.
overall
backplate
.
.
.
overall
upper proper left tasset
.
.
.
overall
lower proper left tasset
.
.
.
overall
upper proper right tasset
.
.
.
overall
lower proper right tasset
.
.
.
overall
Steel
Steel
1560s; breastplate 1562
1560
1562
Arms and Armor
Partial armor comprising a helmet, breastplate, tassets (upper thigh leg defenses), backplate and gorget (collar):
.1 helmet : H 12-1/2 x W 10-1/2 x D 16-1/4 in.
.2 collar (gorget) including sleeves: H 12-1/4 x W 24 x D 9-7/8 in.
.3 breastplate: H 18 x W 15-1/2 x D 9 in.
.4 backplate: H 16-7/8 x W 15-1/2 x D 8-1/4 in.
.5a upper (proper) left tasset: H 10 x W 10 X D 3-1/2 in.
.5b lower (proper) left tasset: H 9-1/2 x W 7-1/4 x D 3-1/2 in.
.6a upper (proper) right tasset : H 10 X W 10 X D 3-1/2 in.
.6b lower (proper) right tasset: H 9-1/4 x W 7-1/4 x D 3-1/2 in.
underside, Base coat: B-67 in naphtha. Numbers: Golden Fluid Acrylics. Top coat: B-72 in acetone.breastplate
2006.57
item
Memorial Art Gallery
10/4/2006
2006.57DI#37-45
armor assembly photos
digital image
1/12/2007
http://127.0.0.1:5000/Graphics/blank.gif
2006.57DI#1
digital image
00/00/00
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2006.57DI#10
digital image
side view
00/00/00
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2006.57DI#11
digital image
detail
00/00/00
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2006.57DI#12
digital image
back view
00/00/00
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2006.57DI#13
digital image
detail
00/00/00
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2006.57DI#14
digital image
detail
00/00/00
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2006.57DI#15
digital image
detail
00/00/00
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2006.57DI#16
digital image
side view
00/00/00
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2006.57DI#17
digital image
detail
00/00/00
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2006.57DI#18
digital image
three-quarter view
00/00/00
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2006.57DI#19
digital image
detail
00/00/00
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2006.57DI#2
digital image
detail
00/00/00
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2006.57DI#20
digital image
detail
00/00/00
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2006.57DI#21
digital image
detail
00/00/00
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2006.57DI#22
digital image
detail
00/00/00
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2006.57DI#23
digital image
detail
00/00/00
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2006.57DI#3
digital image
detail
00/00/00
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2006.57DI#4
digital image
detail
00/00/00
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2006.57DI#5
digital image
detail
00/00/00
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2006.57DI#6
digital image
detail
00/00/00
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2006.57DI#7
digital image
detail
00/00/00
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2006.57DI#8
digital image
three-quarter view
00/00/00
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2006.57DI#9
digital image
detail
00/00/00
http://127.0.0.1:5000/Media/images/2006.57_A9.jpg
2006.57DI#24-28
interior photos
digital image
1/12/2007
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2006.57DI#29-36
collar figure details
digital image
1/12/2007
http://127.0.0.1:5000/Graphics/blank.gif
Drawing
Over Blue
Georgia O'Keeffe, (Sun Prairie, WI, 1887 - 1986, Santa Fe, NM)
O'Keeffe, Georgia
United States
1887 - 1986
Female
Primary
28 x 22 in. (71.1 x 55.9 cm)
.
.
.
overall
vertical
frame
.
.
.
overall
sheet
.
.
.
overall
frame
.
.
.
frame
Pastel
Pastel
1918
1918
1918
10.2006L
Drawing
This beautiful image was created by Georgia O’Keeffe soon after her return to New York City from Texas at the invitation of art dealer and photographer Alfred Stieglitz, whom she would marry several years later. It is from the very earliest part of her career, the first decade in which she seriously identified as an artist.
Its remarkably light-filled palette contrasts with the Gallery’s 1931 painting by O’Keeffe, Jawbone and Fungus.
The Memorial Art Gallery is deeply grateful to Anne Whitman, whose commitment to the Rochester community motivated her to leave this treasure from her collection to an institution that would share it with visitors for many generations to come.
[Gallery label text, 2007]
upper right corner of original backing boardupper left quadrant of original backing board, hand drawn five pointed star with letters OK in centerupper left quadrant of original backing board
Juan Hamilton
2006.77
item
Memorial Art Gallery
2/22/2006
10.2006LDI#1
digital image
full
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/2006.77_I1.jpg
2006.77TR1
transparency
full
4 x 5
00/00/00
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glossy
full
8 x 10
00/00/00
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negative
full
4 x 5
00/00/00
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2006.77DI1
digital image
00/00/00
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2006.77SL1
slide
2 x 2
00/00/00
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2006.77DI#2
digital image
7/29/2022
http://127.0.0.1:5000/Media/images/2006.77_A2.jpg
Sculpture
Abraham Lincoln
Leonard Wells Volk, 1828 - 1895
Volk, Leonard Wells
United States
1828 - 1895
Male
Primary
33 x 12 x 12 in. (83.8 x 30.5 x 30.5 cm)
.
.
.
overall
vertical
image
Bronze
Bronze
ca. 1891
1886
1896
6218
Sculpture
Leonard Wells Volk made this statuette as a model for the over-nine-foot sculpture in his Rochester Soldiers’ and Sailors’ Monument in Washington Square Park. The artist described the sculpture as “heroic in size, some would say colossal.”
Over 100,000 visitors attended the statue’s unveiling on Memorial Day, 1892, including luminaries Frederick Douglass and President Benjamin Harrison.
[Gallery label text, 2012]
back of base, Base and top coats in B-72 in acetone with numbers laser printed on Permalife paper.
2008.29
item
Memorial Art Gallery
7/30/2008
2008.29DI1
digital image
Front
00/00/00
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2008.29DI#2
digital image
Front
7/14/2008
http://127.0.0.1:5000/Media/images/2008.29_A1.jpg
2008.29DI#3
digital image
another view
7/14/2008
http://127.0.0.1:5000/Media/images/2008.29_A2.jpg
2008.29DI#4
digital image
side view
7/14/2008
http://127.0.0.1:5000/Media/images/2008.29_A3.jpg
2008.29DI#5
digital image
1/13/2009
http://127.0.0.1:5000/Media/images/2008.29_A4.jpg
2008.29TR1
transparency
Front
4 x 5
00/00/00
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