39
Portfolios%20%3D%20%222792%22%20and%20Century%20%3D%20%2220th%20Century%22
Sculpture
Eva May
Darryl Abraham, (Wayland, NY, 1948 - )
Abraham, Darryl
United States
1948
Male
12 1/2 x 20 1/2 x 12 1/2 in. (31.8 x 52.1 x 31.8 cm)
.
.
.
Mixed media
Mixed media
1970
1970
1970
18.77L
1900-2000, 20th century, mixed media, sculpture
Sculpture
1979.23
item
Memorial Art Gallery
9/8/1999
79.23DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/79.23_I1.jpg
79.23DI#2
digital image
1/30/2013
http://127.0.0.1:5000/Media/images/79.23_A1.jpg
Painting
Sunny Ducks
Daniel Arthur Allen, (1946 - 1974, Rochester, NY)
Allen, Daniel Arthur
United States
1946 - 1974
Male
5 3/16 x 3 7/16 in. (13.1 x 8.8 cm)
.
.
.
sheet
vertical
sheet
Acrylic
Acrylic
1973
1973
1973
1900-2000, 20th century, birds, paintings
Painting
Nearly 40 years after it entered MAG’s collection, Daniel Allen’s tiny painting was re-discovered by an intern updating records for the museum website. Its quirky sense of humor and mysterious narrative caught her eye. Intern Sarah Gerin says: “Sunny Ducks’ intrigue lies in its ambiguity. It is kind and comforting, yet still forlorn and remote. In the painting, there is no context for what interaction is taking place, where it is taking place, or even its significance. With its enigmatic imagery and striking sense of both kindness and solitude, this scene reveals a clever and playful approach to the universal themes of isolation, alienation, and human relationships.”
[Label text from It Came From the Vault exhibition, 2013]
lower right
Christine Wheat
1975.12
item
Memorial Art Gallery
9/8/1999
75.12DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/75.12_A1.jpg
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
4 x 5
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51.1DI1
digital image
Memorial Art Gallery
Imaging complete
7/10/2000
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51.1SL2
slide
detail-two men
2 x 2
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51.1SL3
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2 x 2
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51.1SL4
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2 x 2
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51.1SL5
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2 x 2
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51.1SL
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detail-car
2 x 2
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51.1DI1
digital image
Memorial Art Gallery
Imaging complete
00/00/00
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51.1DI3
digital image
00/00/00
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52benton1.tif
digital image
00/00/00
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51.1DI4
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/51.1_A7.jpg
51.1DI5
digital image
Detail
6/11/2009
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51.1DI6
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/51.1_A10.jpg
51.1DI7
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/51.1_A6.jpg
51.1DI8
digital image
Detail
6/11/2009
http://127.0.0.1:5000/Media/images/51.1_A9.jpg
digital image
00/00/00
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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
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73.1DI1
digital image
4 x 5
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73.1DI2
digital image
00/00/00
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73.1DI3
digital image
4 x 5
00/00/00
http://127.0.0.1:5000/Media/images/73.1_A3.jpg
Painting
Morning Star
Eugen Bracht, (Morges, Switzerland, 1842 – 1921, Darmstadt, Germany)
Bracht, Eugen
Germany
1842 - 1921
Male
29 3/4 x 34 1/2 in. (75.6 x 87.6 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
ca. 1900
1895
1905
landscapes, paintings
Painting
lower leftback of board, Siegmundshof address is that of the artist's studio.back of panelback of boardback of support, On back of rectangular frame fastened to boardback of support, On back of rectangular frame fastened to boardback of support, On back of rectangular frame fastened to boardback of support, On back of rectangular frame fastened to board. Partly illegible.back of support, On back of rectangular frame fastened to board. Partly illegible.back of support, On back of rectangular frame fastened to board. Stencilled to two labels or sheets of paper which were then applied to the wood.back of support, On back of rectangular frame fastened to boardback of support, On back of rectangular frame fastened to boardback of support, On back of rectangular frame fastened to boardback of frameback of frameback of frameback of frame, Partly illegible.back of frame, Partly illegible.back of frameback of frame, If this really reads "10," may be catalogue number from 1900 exhibition in Vienna? See photocopy of catalogue in curatorial file
1913.10
item
Memorial Art Gallery
2/27/2001
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4 x 5
00/00/00
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13.10SL1
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full
2 x 2
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13.10DI1
digital image
4 x 5
00/00/00
http://127.0.0.1:5000/Media/images/13.10_A1.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/13.10_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
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glossy
8x10
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4x5
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5x7
00/00/00
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negative
3x2
00/00/00
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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
Watercolor
Melon Glow
Jon Carsman, (Wilkes Barre, PA, 1944 - 1987)
Carsman, Jon
United States
1944 - 1987
Male
22 5/8 x 30 5/16 in. (57.5 x 77 cm)
.
.
.
overall
sheet
Watercolor
Watercolor
1977
1977
1977
Watercolor
lower right
1978.75
item
Memorial Art Gallery
9/8/1999
78.75SL1
slide
full
2 x 2
00/00/00
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negative
4 x 5
00/00/00
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8 x 10
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78.75DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/78.75_A1.jpg
78.75DI#2
digital image
10/1/2012
http://127.0.0.1:5000/Media/images/78.75_A2.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)
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.
.
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
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full
2 x 2
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8x10
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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
Painting
Woman in an Ermine Collar
Kathleen McEnery Cunningham, 1885 - 1971
Cunningham, Kathleen McEnery
United States
1885 - 1971
Female
76 7/8 x 38 3/8 in. (195.3 x 97.5 cm)
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.
.
approximate installation dimensions
frame
.
.
.
without frame
Oil
Oil
1909
1909
1909
1900-2000, 20th century, American art, Ashcan School and friends, by Rochester artists, paintings, portraits, women
Painting
Kathleen McEnery’s early training as an Urban Realist drew her to depict reality with an uncompromising eye. The artist was about twenty-two years old and living in Paris when she painted this bold and modern woman. McEnery lived in New York, Madrid, and Paris before she moved to Rochester, NY in 1914.
[Gallery label text, 2007]
Kathleen McEnery was about twenty-two years old and living in Paris when she painted Woman in an Ermine Collar. She lived and trained in New York, Madrid, and Paris before moving to Rochester in 1914. McEnery played a major role in Rochester’s cultural circles, and painted throughout her life while raising a family with her husband, Francis Cunningham of the Cunningham Car Company.
McEnery’s training with the American realist master Robert Henri drew her to depict with honesty the conditions of modern life. The result is this woman’s unapologetic presence. She is an embodiment of the New Woman – a cultural phenomenon of the growing women’s rights movement, of which the artist was an ardent supporter. The New Woman rebelled against traditional gender roles and was independent, confident, and physically active. As this woman’s dashing manner illustrates, she was equally as comfortable in the public domain as would be any man.
[Gallery label text, 2006]
In New York City, Kathleen McEnery studied with Robert Henri. She also studied abroad and exhibited two paintings at the controversial 1913 Armory Show in New York City. After her marriage to Rochesterian Francis Cunningham, whose family owned the Cunningham Carriage Factory, she continued painting in a studio off the family's home on 10 South Goodman St., now on the campus of the Rochester Museum and Science Center. As Mrs. Cunningham, she was a member of the Gallery's Board of Managers from 1927 through 1971.
The model's direct and intelligent expression and forthright pose suggests the "new woman," ready to be a participant in contemporary society rather than remain at home. Certainly, McEnery herself, who had graduated from Pratt Institute and lived on her own in New York City, fit that description as well.
[Gallery label text, 2003]
lower left
1983.13
item
Memorial Art Gallery
9/8/1999
83.13TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
83.13SL1
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83.13DI1
digital image
Memorial Art Gallery
Imaging complete
6/23/2000
http://127.0.0.1:5000/Media/images/83.13_A1.jpg
83.13DI2
digital image
Signature
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/83.13_I2.jpg
39mcenery1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/39mcenery1.tif
Painting
Negro Head
John Steuart Curry, (Dunavant, KS, 1897 - 1946, Madison, WI)
Curry, John Steuart
United States
1897 - 1946
Male
24 x 18 1/2 in. (61 x 47 cm)
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.
.
approximate installation dimensions
frame
.
.
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.
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.
overall framed size
vertical
frame
Oil
Oil
1927
1927
1927
1.97L
1900-2000, 20th century, American Scene/Regionalism, Images of Black People, men, paintings, portraits
Painting
Until research identifies the sitter, Portrait of a Youth or Portrait of a Young Man may be applied as a more appropriate title.
Unfortunately, the name of this young man was not recorded. The title that the work has carried for many years is further dehumanizing. In the historical moment when this painting was made and exhibited, the term “negro” was commonly used—including by significant African American figures such as Martin Luther King Jr. and Langston Hughes—to refer to a Black person. Today, however, this terminology is outdated and inappropriate.
John Steuart Curry is known for his narrative and landscape paintings of life in his home state of Kansas. When he painted this luminous portrait, he had just returned from studying art in Paris, France.
[Gallery label text, 2024]
yes, lower right
2005.31
item
Memorial Art Gallery
5/10/2000
2005.31DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2005.31_A1.jpg
2005.31DI#2
digital image
6/22/2010
http://127.0.0.1:5000/Media/images/2005.31_A2.jpg
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
audio file
00/00/00
http://127.0.0.1:5000/Media/images/surrogates/audio files/SearlNegroHeadCurry.mp3
audio file
00/00/00
http://127.0.0.1:5000/Media/images/surrogates/audio files/04NegroHead.mp3
Drawing
Oxen Under Trees
Arthur B. Davies, 1862 - 1928
Davies, Arthur B.
United States
1862 - 1928
Male
12 5/8 x 9 3/8 in. (32 x 23.8 cm)
.
.
.
overall
sheet
Graphite
Graphite
ca. 1927
1922
1932
1900-2000, 20th century, drawing, landscapes, oxen, trees in art
Drawing
1932.3
item
Memorial Art Gallery
9/8/1999
32.3SL1
slide
full
2 x 2
00/00/00
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2 x 2.5
00/00/00
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glossy
8 x 10
00/00/00
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32.3DI1
digital image
2 x 2
7/23/2002
http://127.0.0.1:5000/Media/images/32.3_A1.jpg
32.3DI2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/32.3_A2.jpg
32.3DI#3
digital image
10/1/2012
http://127.0.0.1:5000/Media/images/32.3_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
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Memorial Art Gallery
4 x 5
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51.3DI1
digital image
Memorial Art Gallery
Imaging complete
7/13/2000
http://127.0.0.1:5000/Media/images/51.3_A1.jpg
51.3SL2
slide
detail-slightly cropped
2 x 2
00/00/00
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51.3SL3
slide
photo of old gas pump
2 x 2
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51.3DI2
digital image
00/00/00
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00/00/00
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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
Snow on Quai
Edwin Dickinson, 1891 - 1978
Dickinson, Edwin
United States
1891 - 1978
Male
21 x 18 in. (53.3 x 45.7 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
Oil
Oil
1938
1938
1938
1900-2000, 20th century, paintings, snow
Painting
along right edgelower leftlower rightyes, verso
Mrs. Helen Dickinson Baldwin
1987.62
item
Memorial Art Gallery
9/8/1999
87.62TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
87.62SL1
slide
full
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negative
4x5
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87.62DI1
digital image
Memorial Art Gallery
Imaging complete
8/28/2000
http://127.0.0.1:5000/Media/images/87.62_A1.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
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Memorial Art Gallery
full
2 x 2
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digital image
00/00/00
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51.4SL2
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cropped
2 x 2
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58dove1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/58dove1.tif
51.4DI2
digital image
4/17/2014
http://127.0.0.1:5000/Media/images/51.4_A2.jpg
Print
Affairements
Jean Dubuffet, 1901 - 1985
Dubuffet, Jean
France
1901 - 1985
Male
25 13/16 x 19 3/4 in. (65.5 x 50.1 cm)
.
.
.
sheet
sheet
.
.
.
plate
plate
Printer's ink
Printer's ink
1964
1964
1964
Print
lower right, below imagelower leftverso
1998.31
item
Memorial Art Gallery
10/22/1999
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
2x3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
98.31SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
98.31DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/98.31_A1.jpg
98.31DI#2
digital image
10/10/2012
http://127.0.0.1:5000/Media/images/98.31_A2.jpg
Print
Air Frame
Helen Frankenthaler, 1928 - 2011
Frankenthaler, Helen
United States
1928 - 2011
Female
22 x 16 15/16 in. (55.9 x 43 cm)
.
.
.
overall
sheet
Printer's ink
Printer's ink
1965
1965
1965
1900-2000, 20th century, Charles Rand Penney Collection, serigraphs
Print
From the portfolio "New York Ten"
1975.329.3
item
Memorial Art Gallery
9/8/1999
75.329.3DI1
digital image
3/28/2002
http://127.0.0.1:5000/Media/images/75.329.3_A1.jpg
75.329.3SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
75.329.3DI#2
digital image
11/28/2012
http://127.0.0.1:5000/Media/images/75.329.3_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
Transparency
Memorial Art Gallery
4 x 5
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51.5SL1
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4x5
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51.5DI1
digital image
Memorial Art Gallery
Imaging complete
7/14/2000
http://127.0.0.1:5000/Media/images/51.5_A1.jpg
51.5DI2
digital image
Memorial Art Gallery
Imaging complete
00/00/00
http://127.0.0.1:5000/Media/images/51.5_A2.jpg
63gropper1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/63gropper1.tif
Painting
The Wanderer
George Grosz, 1893 - 1959
Grosz, George
United States
1893 - 1959
Male
30 x 40 in. (76.2 x 101.6 cm)
.
.
.
approximate installation dimensions
frame
.
.
.
Oil
Oil
1943
1943
1943
1900-2000, 20th century, Encyclopedia Britannica Collection, men, paintings, wandering jew
Painting
George Grosz was a German soldier in World War I and left his country for the United States in 1933 during Adolf Hitler’s rise to power. Ten years later, he painted The Wanderer in New York—his intensely personal response to his experiences—as World War II raged over the ocean.
[Gallery label text, 2024]
Ten years after fleeing Germany during Hitler’s rise to power, George Grosz painted The Wanderer in New York. As World War II raged over the ocean, Grosz created this intensely personal response to his experience as a German soldier in World War I and his 1933 emigration to the United States.
[Gallery label text, 2007]
Painted in the midst of World War II, The Wanderer is an expression of the artist’s recent life experience. George Grosz was an established painter in Germany who, like many others, spoke out against the totalitarian Nazi regime. For his own safety and that of his family, he relocated to the United States. The Wanderer was one of a group of so-called ‘hell pictures’; in a letter, he wrote:
I work a lot…I painted a little picture – The Wanderer –
myself of course…The resonance of explosion and
destruction often shakes me bodily.
The explosion and destruction was a reference to the war-torn European continent that he had left behind, as well as a reference to his own emotional volatility as he tried to adjust, with little success, to his new life in America, suggested in the painting by the seagrasses he knew from Long Island and Cape Cod beaches.
The Wanderer was probably one of the newest paintings acquired for the Encyclopedia Britannica Collection, as the collection was formed in 1943, the same year that Grosz painted this work. Stylistically, the painting’s expression of personal and cultural angst – achieved through desolate subject matter, somber palette, and unquiet line – was very much an alternative view to the more upbeat images of wartime artists like Norman Rockwell.
[Gallery label text, 2006]
lower left, In yellowish-brown paintback of frameback of frameback of frame, Two identical labels. SEE ATTACHED SURROGATE IMAGESback of frame, mechanically incised into wood, in two placesback of frameback of frameback of frameback of frame, SEE ATTACHED SURROGATE RECORDback of stretcher
1951.6
item
Memorial Art Gallery
9/8/1999
51.6TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
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51.6SL1
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51.6DI1
digital image
Memorial Art Gallery
Imaging complete
7/10/2000
http://127.0.0.1:5000/Media/images/51.6_A1.jpg
negative
color
1 x 1
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51.6DI2
digital image
Memorial Art Gallery
Imaging complete
00/00/00
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64grosz1.tif
digital image
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51.6DI#3
mark
digital image
back of frame
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/51.6_I1.jpg
51.6DI#4
mark
digital image
back of frame
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/51.6_I2.jpg
Watercolor
Fairy Tales (Märchen)
Paul Klee, (1879 - 1940)
Klee, Paul
Switzerland
1879 - 1940
Male
8 1/2 x 10 1/4 in. (21.6 x 26 cm)
.
.
.
without frame
.
.
.
overall
frame
Watercolor
Watercolor
ca. 1920
1915
1925
1900-2000, 20th century, paintings
Watercolor
upper left, in imageremoved from old backing, now in curatorial file
1957.37
item
Memorial Art Gallery
4/5/2000
57.37TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
57.37SL1
slide
full
2 x 2
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full
6x4
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glossy
full
8x10
00/00/00
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57.37DI1
digital image
Memorial Art Gallery
Imaging complete
6/26/2000
http://127.0.0.1:5000/Media/images/57.37_A1.jpg
57.37DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
Interlude
John Koch, 1909 - 1978
Koch, John
United States
1909 - 1978
Male
50 1/8 x 39 7/8 in. (127.3 x 101.3 cm)
.
.
.
without frame
.
.
.
approximate installation dimensions
frame
Oil
Oil
1963
1963
1963
1900-2000, 20th century, artists, making art (depictions), men, nudes, paintings, Realism, self portraits, women
Painting
John Koch was a master of the tradition of American realism. His warm, intimate, and elegant New York City interiors glow with light that is reflected by well-polished furniture, floors, and silver.
In this painting, the artist’s wife (piano teacher Dora Zaslavsky) offers a cup of tea to the nude artist’s model, while the artist sits in the background and contemplates his canvas. A variation on the theme of artists and models, Interlude also is an expression of the generosity of human relationships. As one of Zaslavsky’s former students wrote, “…her philosophy of care and concern for the individual student helps shape my teaching to this day.”
[Summer 2015]
lower left
1965.12
item
Memorial Art Gallery
9/8/1999
65.12TR1
Transparency
Memorial Art Gallery
4 x 5
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http://127.0.0.1:5000/Graphics/blank.gif
65.12CPRT1
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5 x 7
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65.12DI1
digital image
Memorial Art Gallery
Imaging complete
6/23/2000
http://127.0.0.1:5000/Media/images/65.12_A1.jpg
65.12DI2
digital image
00/00/00
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69koch1.tif
digital image
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Print
Maria und Elisabeth
Käthe Kollwitz, 1867 - 1945
Kollwitz, Käthe
Germany
1867 - 1945
Female
15 3/4 x 16 1/4 in. (40 x 41.3 cm)
.
.
.
sheet
sheet
Printer's ink
Printer's ink
1928
1928
1928
1900-2000, 20th century, women, woodcuts
Print
1937.11
item
Memorial Art Gallery
5/12/2001
37.11SL1
slide
2 x 2
00/00/00
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neg
3x2
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digital image
00/00/00
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37.11DI#2
digital image
10/1/2012
http://127.0.0.1:5000/Media/images/37.11_A2.jpg
Sculpture
The Mountain
The Mountain
Gaston Lachaise, 1882 - 1935
Lachaise, Gaston
United States
1882 - 1935
Male
9 x 20 x 9 in. (22.9 x 50.8 x 22.9 cm)
.
.
.
base
base
.
.
.
overall
Limestone
Limestone
July 1923 - February 1924
7/1923
2/1924
1900-2000, 20th century, nudes, sculpture, women
Sculpture
Lachaise made numerous versions of "The Mountain," in which he suggested the similarity between a reclining female figure and a mountainous form.
[Gallery label text, 2005]
sole of figure's left foot
Marie P. Charles
1997.11
item
Memorial Art Gallery
9/8/1999
negative
3x2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
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97.11DI1
digital image
2 x 2
11/20/2002
http://127.0.0.1:5000/Media/images/97.11_A1.jpg
97.11SL1
slide
2 x 2
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negative
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97.11DI1
digital image
Detail
00/00/00
http://127.0.0.1:5000/Media/images/97.11_A2.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
http://127.0.0.1:5000/Graphics/blank.gif
91.5CNEG1
negative
4 x 5
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full
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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
Basketry
Nofreelunch Basket
John McQueen, 1943 -
McQueen, John
United States
1943
Male
23 x 17 x 17 in. (58.4 x 43.2 x 43.2 cm)
.
.
.
overall
Willow and waxed string
Willow and waxed string
2000
2000
2000
1900-2000, 2000+, 20th century, 21st Century, American art, basketry, Craft, decorative arts
Basketry
John McQueen is credited with the contemporary revival of basketry, one of the most ancient crafts. He lives in Saratoga Springs, where he grows and gathers the natural materials that he incorporates into his works.
In the Gallery’s piece, the artist has incorporated text into the body of the work. While three complete phrases can be decoded – A PIECE OF CAKE, MISSING THE BOAT, AND A PRIZE AT A PRICE – a sense of the fragmentary quality of individual words is created as each one is picked out. The negative space of the letters suggests the way in which words are openings for ideas, while the interlocked forms of the willow branches recall calligraphic forms.
[Gallery label text, 2004]
2000.13
item
Memorial Art Gallery
8/14/2000
2000.13TR1
Transparency
Memorial Art Gallery
3/4 view
2 x 2 3/4
00/00/00
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2000.13SL1
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2 x 2
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2000.13DI1
digital image
Memorial Art Gallery
3/4 view
Imaging complete
2/5/2001
http://127.0.0.1:5000/Media/images/2000.13_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
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53.6DI1
digital image
Memorial Art Gallery
Imaging complete
6/26/2000
http://127.0.0.1:5000/Media/images/53.6_A1.jpg
53.6SL2
slide
full- with frame
2 x 2
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53.6SL3
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detail of bridge
2 x 2
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digital image
00/00/00
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Color separations
5 x 7
00/00/00
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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
Print
Untitled
Robert Motherwell, (Aberdeen, WA, 1915 - 1991, Provincetown, MA)
Motherwell, Robert
United States
1915 - 1991
Male
24 x 20 in. (61 x 50.8 cm)
.
.
.
sheet
Printer's ink
Printer's ink
1964
1964
1964
1900-2000, 20th century, serigraphs
Print
Estate of Robert Motherwell
1975.335.5
item
Memorial Art Gallery
9/8/1999
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
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
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
75.335.5DI1
digital image
7/22/2004
http://127.0.0.1:5000/Media/images/75.335.5_A1.jpg
75.335.5DI#2
digital image
11/28/2012
http://127.0.0.1:5000/Media/images/75.335.5_A2.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
Print
Mystic
Thom O'Connor, 1937 -
O'Connor, Thom
United States
1937
Male
16 7/8 x 12 5/8 in. (42.8 x 32 cm)
.
.
.
sheet
sheet
.
.
.
image
image
Printer's ink
Printer's ink
by 1965
1965
1965
Print
lower left, below imagelower center, below imagelower right, below image
1975.264
item
Memorial Art Gallery
9/8/1999
75.264 SL1
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
2.5x3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
75.264DI#1
digital image
7/30/2008
http://127.0.0.1:5000/Media/images/75.264_A1.jpg
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
86.132SL1
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
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
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
http://127.0.0.1:5000/Graphics/blank.gif
89.50SL1
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
89.50DI1
digital image
4 x 5
00/00/00
http://127.0.0.1:5000/Media/images/89.50_A2.jpg
89.50DI2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/89.50_A1.jpg
Painting
In the Nevada Desert
Sven Birger Sandzén, 1871 - 1956
Sandzén, Sven Birger
United States
1871 - 1956
Male
Primary
32 x 48 in. (81.3 x 121.9 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
1917
1917
1917
1900-2000, landscape, landscapes
Painting
back of stretcher, topback of stretcher, bottom, Artist's notation (see photo attached to object record, 62.33_a2.jpg)
1962.33
item
Memorial Art Gallery
9/8/1999
62.33DI1
digital image
5/9/2002
http://127.0.0.1:5000/Media/images/Inventory pictures/62.33_I1.jpg
62.33DI#2
digital image
11/20/2012
http://127.0.0.1:5000/Media/images/62.33_A1.jpg
Painting
Polgrennow Farm
W. Elmer Schofield, (Philadelphia, PA, 1867 - 1944, Cornwall, England)
Schofield, W. Elmer
United States
1867 - 1944
Male
30 x 36 1/8 in. (76.2 x 91.8 cm)
.
.
.
overall
frame
.
.
.
without frame
Oil
Oil
0
0
Painting
lower leftback of stretcher, Under edge of canvasback of frame
1977.204
item
Memorial Art Gallery
9/8/1999
77.204SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
77.204DI#2
digital image
2/1/2008
http://127.0.0.1:5000/Media/images/77.204_A1.jpg
77.204DI#1
digital image
6/26/2007
http://127.0.0.1:5000/Media/images/Inventory pictures/77.204_I1.jpg
77.204DI#3
digital image
with frame
5/7/2014
http://127.0.0.1:5000/Media/images/77.204_A2.jpg
77.204DI#4
digital image
Verso
5/7/2014
http://127.0.0.1:5000/Media/images/77.204_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
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
41.33SL2
slide
detail-central group
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
41.33SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
41.33DI1
digital image
Memorial Art Gallery
Imaging complete
7/10/2000
http://127.0.0.1:5000/Media/images/41.33_A1.jpg
41.33SL3
slide
detail- lady in red
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
41.33SL4
slide
detail-man with false nose
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
41.33SL5
slide
detail-streetlight
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
36sloan1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/36sloan1.tif
Ceramics
Fork
William Stewart, (Plattsburgh, NY, 1941 - 2020, Spencerport, NY)
Stewart, William
United States
1941 - 2020
Male
83 x 19 x 10 in. (210.8 x 48.3 x 25.4 cm)
.
.
.
overall
Ceramic
Ceramic
1991
1991
1991
1900-2000, 20th century, American art, by Rochester artists, ceramics, decorative arts, sculpture
Ceramics
1992.84
item
Memorial Art Gallery
9/8/1999
92.84SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
w 92.85
2 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
92.84DI1
digital image
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/92.84_A1.jpg
92.84SL2
slide
with 92.85
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
2.5 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
92.84TR1
transparency
full
2.5 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
92.84DI2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/92.84_A2.jpg
Ceramics
Rake
William Stewart, (Plattsburgh, NY, 1941 - 2020, Spencerport, NY)
Stewart, William
United States
1941 - 2020
Male
74 x 21 1/2 x 10 in. (188 x 54.6 x 25.4 cm)
.
.
.
overall
Ceramic
Ceramic
1991
1991
1991
1900-2000, 20th century, American art, by Rochester artists, ceramics, decorative arts, sculpture
Ceramics
1992.85
item
Memorial Art Gallery
9/8/1999
92.85DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/92.85_A1.jpg
negative
2.5 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
92.85TR1
transparency
full
2.5 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
92.85SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
92.85DI2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/92.85_A2.jpg
Drawing
The Plumed Helmet: Study for "The Parting"
Joyce Treiman, 1922 - 1991
Treiman, Joyce
United States
1922 - 1991
Female
30 3/8 x 22 in. (77.2 x 55.9 cm)
.
.
.
sheet
Graphite
Graphite
1982
1982
1982
1900-2000, 20th century, drawing
Drawing
lower right
1986.131
item
Memorial Art Gallery
9/8/1999
86.131TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
86.131SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
5x7
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
86.131DI1
digital image
Memorial Art Gallery
Imaging complete
6/19/2001
http://127.0.0.1:5000/Media/images/86.131_A1.jpg
Sculpture
Crest Mask: Male Antelope (Chi Wara)
Bamana artist, (active )
Bamana artist
Mali
Primary
40 9/16 x 2 15/16 x 13 9/16 in. (103 x 7.5 x 34.5 cm)
.
.
.
overall
overall
Wood
Wood
Bamana; made in Mali
0
0
African art, antelopes, Bamana, chi wara, sculpture
Sculpture
In many cultures, gods and spirits take the form of animals. Selected for their physical or behavioral traits, features of different animals are combined to create mythical creatures whose symbolic powers are greater than those of ordinary beasts. This antelope crest mask combines the curved horns of an antelope, the curious snout and scales of a pangolin (a kind of anteater) and the squat body of an aardvark—all animals that dig up the earth. This makes the mask a fitting representations of Chi Wara, the supernatural being the Bamana believe taught humans to farm. Chi wara masks were worn in male/female pairs during dance performances in the fields that taught and encouraged good farming. Today, because of conversion to Islam and a variety of social changes due to westernization, the Chi Wara masquerade is now performed for entertainment and cultural pride.
The small pieces of red cloth attached to the snout of this male Chi Wara may have originated in the woolen bandages imported by the French during the First World War. In Bamana culture, red is the color of danger and is often restricted to men of certain status.
[Gallery label text, 2009]
1969.107
item
Memorial Art Gallery
11/28/2000
69.107SL2
slide
worn w fiber costume
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
69.107SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
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
69.107DI1
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/69.107_A2.jpg
69.107DI2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/69.107_A1.jpg
69.107DI#3
digital image
Three-quarter
1/13/2009
http://127.0.0.1:5000/Media/images/69.107_A3.jpg
69.107DI#4
digital image
Side
1/13/2009
http://127.0.0.1:5000/Media/images/69.107_A4.jpg
69.107DI#5
digital image
Front
1/13/2009
http://127.0.0.1:5000/Media/images/69.107_A5.jpg
69.107DI#6
digital image
1/13/2009
http://127.0.0.1:5000/Media/images/69.107_A6.jpg
69.107TR1
transparency
Front
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Sculpture
Crest Mask: Female Antelope (Chi Wara)
Bamana artist, (active )
Bamana artist
Mali
Primary
30 1/2 x 7 5/8 x 8 in. (77.5 x 19.4 x 20.3 cm)
.
.
.
Wood
Wood
Bamana; made in Mali
0
0
African art, antelopes, Bamana, chi wara, sculpture
Sculpture
In many cultures, gods and spirits take the form of animals. Selected for their physical or behavioral traits, features of different animals are combined to create mythical creatures whose symbolic powers are greater than those of ordinary beasts. This antelope crest mask combines the curved horns of an antelope, the curious snout and scales of a pangolin (a kind of anteater) and the squat body of an aardvark—all animals that dig up the earth. This makes them fitting representations of Chi Wara, the supernatural being the Bamana believe taught humans to farm. The masks were worn in male/female pairs during dance performances in the fields that taught and encouraged good farming. Today, because of conversion to Islam and a variety of social changes due to westernization, the Chi Wara masquerade is now performed for entertainment and cultural pride.
[Gallery label text, 2009]
1993.14
item
Memorial Art Gallery
9/8/1999
93.14SL1
slide
3/4 view
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
2 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
93.14DI1
digital image
3/4 view
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/93.14_A1.jpg
93.14DI#2
digital image
Three-quarter
1/13/2009
http://127.0.0.1:5000/Media/images/93.14_A2.jpg
93.14DI#3
digital image
side
1/13/2009
http://127.0.0.1:5000/Media/images/93.14_A3.jpg
93.14DI#4
digital image
Front
1/13/2009
http://127.0.0.1:5000/Media/images/93.14_A4.jpg
93.14DI#5
digital image
1/13/2009
http://127.0.0.1:5000/Media/images/93.14_A5.jpg
93.14TR1
transparency
Front
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Painting
St. Fichera
Jerome Witkin, 1939 -
Witkin, Jerome
United States
1939
Male
50 1/4 x 48 1/4 in. (127.6 x 122.6 cm)
.
.
.
.
.
.
overall
frame
Oil
Oil
1977
1977
1977
Painting
right edgeverso, stretcher
1986.135
item
Memorial Art Gallery
9/8/1999
86.135SL1
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
digital image
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/86.135_I1.jpg
86.135DI#2
digital image
11/6/2012
http://127.0.0.1:5000/Media/images/86.135_A1.jpg