5
Portfolios%3D%221889%22%20and%20Century%3D%2220th%20Century%22
Sculpture
Woman Washing Her Left Leg
Edgar Degas, 1834 - 1917
Degas, Edgar
France
1834 - 1917
Male
5 3/4 in. (14.6 cm)
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.
.
Bronze
Bronze
cast 1919-1937
1919
1937
1900-2000, 20th century, nudes, sculpture, women
Sculpture
left back corner of baseleft back corner of baseright front corner of base
1981.23
item
Memorial Art Gallery
1/17/2001
81.23SL1
slide
full-front
2 x 2
00/00/00
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glossy
8x10
00/00/00
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negative
4x5
00/00/00
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81.23TR1
transparency
2 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
81.23DI1
digital image
2 x 3
11/29/2001
http://127.0.0.1:5000/Media/images/81.23_A1.jpg
negative
2 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
detail-bottom forge mark
2 x 3
00/00/00
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glossy
detail-bottom forge mark
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
det-bottom signature
2 x 3
00/00/00
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glossy
det-bottom signature
8 x 10
00/00/00
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81.23SL2
slide
full-3/4 view
2 x 2
00/00/00
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81.23DI#2
digital image
11/15/2011
http://127.0.0.1:5000/Media/images/81.23_A2.jpg
81.23DI#3
digital image
11/15/2011
http://127.0.0.1:5000/Media/images/81.23_A3.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)
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without frame
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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
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negative
4x5
00/00/00
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glossy
8x10
00/00/00
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53.6DI1
digital image
Memorial Art Gallery
Imaging complete
6/26/2000
http://127.0.0.1:5000/Media/images/53.6_A1.jpg
53.6SL2
slide
full- with frame
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
53.6SL3
slide
detail of bridge
2 x 2
00/00/00
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53.6DI2
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
Painting
Near Cagnes
Pierre Auguste Renoir, (Limoges, France, 1841 - 1919, Cagnes-sur-Mer, France)
Renoir, Pierre Auguste
France
1841 - 1919
Male
18 3/8 x 22 in. (46.7 x 55.9 cm)
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overall
frame
Oil
Oil
ca. 1907-1919
1907
1919
1900-2000, 20th century, landscapes, paintings
Painting
Renoir’s health began failing in the early 1900s, and he spent most of his remaining years in the south of France. In 1907, he bought property near Nice, France, where he lived until his death. Despite his physical limitations due to severe rheumatism, he continued to paint still lifes, portraits, and landscapes of the area. Like Monet, he used a fairly limited color palette, usually five to seven pigments, to create his complex, yet subtle, color relationships.
[Label copy from Monet: Vision and Process exhibition, 2018]
back of stretcher, removed from original stretcher, now in curatorial fileback of stretcher, removed from original stretcher, now in curatorial fileback of stretcher, removed from original stretcher, now in curatorial fileback of stretcher, removed from original stretcher, now in curatorial fileback of stretcher, removed from original stretcher, now in curatorial fileback of stretcher, visible in conservation photo of reverse of old stretcherback of stretcher, visible in conservation photo of reverse of old stretcherback of stretcher, visible in conservation photo of reverse of old stretcherback of stretcher, visible in conservation photo of reverse of old stretcherback of stretcher, visible in conservation photo of reverse of old stretcherlower left
1951.27
item
Memorial Art Gallery
2/20/2001
51.27TR2
transparency
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.27TR1
transparency
4 x 5
00/00/00
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51.27SL1
slide
full
2 x 2
00/00/00
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glossy
8x10
00/00/00
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negative
8x10
00/00/00
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negative
4x5
00/00/00
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51.27DI1
digital image
8 x 10
00/00/00
http://127.0.0.1:5000/Media/images/51.27_A1.jpg
51.27DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.27DI#3
digital image
2/6/2013
http://127.0.0.1:5000/Media/images/51.27_A2.jpg
Painting
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)
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.
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
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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91.36DI1
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/91.36_A1.jpg
91.36DI#2
digital image
3/25/2008
http://127.0.0.1:5000/Media/images/91.36_A2.jpg
Painting
Moonlight: The Artist's House at Gerberoy
Henri-Eugène-Augustin Le Sidaner, (Port Louis, Mauritius, 1862 – 1939, Versailes, France)
Le Sidaner, Henri-Eugène-Augustin
France
1862 - 1939
Male
25 1/4 x 32 in. (64.1 x 81.3 cm)
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approximate installation dimensions
frame
Oil
Oil
1904
1904
1904
1900-2000, 20th century, from Rochester collections, houses, paintings, perspective
Painting
About the time this work was painted, Le Sidaner's art was compared by a French critic with the music of his countryman and exact contemporary Claude Debussy. The painting's subtle, almost monochromatic coloring, with daubing brushstrokes creating a soft, flickering play of light over surfaces, is certain reminiscent of Debussy's dappled tonal effects.
[Adapted from gallery label text, 1999]
1946.42
item
Memorial Art Gallery
1/17/2001
46.42SL1
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
46.42DI1
digital image
6/28/2002
http://127.0.0.1:5000/Media/images/46.42_A1.jpg
46.42DI2
digital image
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif