37
Portfolios%3D%222293%22%20and%20Disp_Obj_Type%3D%22Print%22
Print
Yellow Face
Karel Appel, (Amsterdam, 1921 - 2006, Zürich)
Appel, Karel
Netherlands
1921 - 2006
Male
31 1/2 x 23 1/4 in. (80 x 59.1 cm)
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.
.
sheet
sheet
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.
.
image
image
Printer's ink
Printer's ink
1970
1970
1970
Print
lower right, below imagelower left, below imagelower leftlower right
1997.181
item
Memorial Art Gallery
2/4/2001
97.181SL1
slide
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
97.181DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/97.181_A1.jpg
97.181DI#2
digital image
10/10/2012
http://127.0.0.1:5000/Media/images/97.181_A2.jpg
Print
Dance of Death II (Totentanz II)
Ernst Barlach, (Wedel, Germany, 1870 - 1938, Rostock, Germany)
Barlach, Ernst
Germany
1870 - 1938
Male
12 7/8 x 18 in. (32.7 x 45.7 cm)
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overall
sheet
.
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overall
image
Printer's ink
Printer's ink
1922
1922
1922
Print
Ernst Barlach was an Expressionist sculptor, printmaker, and playwright who worked in a wide range of media. Like many other German artists of the period, he initially believed that war could serve as a catalyst that would disrupt the artifice and spiritual complacency of contemporary German society. His time in the military exposed him to the horrors of war, an experience that frequently emerges in the dark intensity of his later work.
In the early 1920s, Barlach began to experiment with the medium of woodcut, looking back to the late medieval period for both style and subject matter.
[Label text from It Came From the Vault exhibition, 2013]
Plate 4 of 7 from the portfolio The Transformations of God: Seven Woodcuts (Die Wandlungen Gottes: Sieben Holzschnitte)
lower right
1970.26
item
Memorial Art Gallery
5/12/2001
70.26SL1
slide
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
70.26DI#1
digital image
Front
6/18/2007
http://127.0.0.1:5000/Media/images/70.26_A1.jpg
Print
House in the Trees
Rosalie Macgill Carey, (Baltimore MD, 1898 - 1984, Baltimore MD)
Carey, Rosalie Macgill
United States
1898 - 1984
Female
6 7/16 x 5 1/16 in. (16.4 x 12.9 cm)
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.
overall sheet
sheet
.
.
.
plate
image
Printer's ink
Printer's ink
0
0
1900-2000, 20th century, etchings, houses, trees in art
Print
lower right
1951.77
item
Memorial Art Gallery
9/8/1999
51.77SL1
slide
2 x 2
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
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
51.77DI1
digital image
3/6/2002
http://127.0.0.1:5000/Media/images/51.77_A1.jpg
51.77DI#2
digital image
11/28/2012
http://127.0.0.1:5000/Media/images/51.77_A2.jpg
Print
Rock Cross
Edmond Casarella, (Newark NJ, 1920 - 1996, Englewood NJ)
Casarella, Edmond
United States
1920 - 1996
Male
32 3/4 x 25 13/16 in. (83.2 x 65.6 cm)
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.
overall
sheet
.
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.
overall
image
Printer's ink
Printer's ink
Medium formerly noted as: paper relief cut, color on wove paper
Current medium changed on 1/16/2001 by CLC after inspection by CA - Color woodcut printed on two sheets pieced together with masking tape.
0
0
20th century, Abstract, woodcuts
Print
Edmond Casarella used cardboard carved in relief to create this print. It follows from preliminary sketches he made of rocks along the Maine coast.
[Label text from It Came From the Vault exhibition, 2013]
lower rightlower leftlower center
Nikki Casarella
1957.56
item
Memorial Art Gallery
9/8/1999
negative
full
6x4
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
57.56DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/57.56_A1.jpg
57.56DI#2
digital image
11/28/2012
http://127.0.0.1:5000/Media/images/57.56_A2.jpg
Print
Ochre
Richard Diebenkorn, 1922 - 1993
Diebenkorn, Richard
United States
1922 - 1993
Male
27 3/8 x 38 3/16 in. (69.5 x 97 cm)
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.
sheet
.
.
.
overall
frame
.
.
.
image
Printer's ink
Printer's ink
1983
1983
1983
Print
lower rightlower left
1984.16
item
Memorial Art Gallery
9/8/1999
84.16SL1
slide
full
2 x 2
00/00/00
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glossy
full
8x10
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
86.16DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/84.16_A1.jpg
84.16DI#2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/84.16_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)
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.
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
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)
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.
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
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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
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
Print
Beauties Enjoying the Breeze with Child Treasures
Kikukawa Eizan, 1787 - 1867
Kikukawa Eizan
Japan
1787 - 1867
Male
Designer
15 3/16 x 10 7/16 in. (38.6 x 26.5 cm)
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.
.
sheet
Printer's ink
Printer's ink
0
0
Japanese, Ukiyo-e
Print
Kikukawa Eizan was the most well-known artist of bijin-ga or “prints of beautiful women” in early 19th-century Japan. He also celebrated the beauty of women in their role as mothers. The artist has chosen to depict an unexpected moment as this fashionable mother supports her young son so he may relieve himself. These small, rather unglamorous moments are the fabric of motherhood.
[Label text from It Came From the Vault exhibition, 2013]
This woman's rich blue <em>obi</em> sash with its pattern of gold carp—a symbol of a male child—contrasts oddly with the simple <em>yukata</em> summer robe slipping from her shoulders. She is sitting on the sort of bench provided by outdoor summer tea-stalls set up along the Sumida River, a popular place for Edo city dwellers to enjoy the cool breezes while watching summer displays of fireworks. She holds her small son in a posture suggesting that she is encouraging him to relieve himself, while two adorable puppies romp below; the child is her "treasure," the puppies are his.
The fan at the woman's side sports a corner of the ubiquitous <em>mimasu</em>, or "three nested boxes," crest of the enormously popular kabuki actor Ichikawa Danjûrô. Promotional items such as this fan were linked to celebrity performers and were often sold in shops owned by the actors themselves.
[Gallery label text]
in the image, with seal
1997.100
item
Memorial Art Gallery
6/22/2000
97.100DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/97.100_A1.jpg
97.100SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
97.100DI#2
digital image
10/10/2012
http://127.0.0.1:5000/Media/images/97.100_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)
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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
Print
Venetian Doorway
Margaret Lial Freeman, 1893 - 1942
Freeman, Margaret Lial
United States
1893 - 1942
Female
12 3/16 x 8 3/8 in. (31 x 21.2 cm)
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overall
sheet
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.
overall
image
Printer's ink
Printer's ink
0
0
1900-2000, 20th century, monotypes, Venice, Italy
Print
lower rightlower center
1919.28
item
Memorial Art Gallery
9/8/1999
19.28DI1
digital image
3/6/2002
http://127.0.0.1:5000/Media/images/19.28_A1.jpg
digital image
00/00/00
http://127.0.0.1:5000/Media/images/related_images/19.28_and 19.29_R1.jpg
19.28DI#2
digital image
11/28/2012
http://127.0.0.1:5000/Media/images/19.28_A2.jpg
Print
House and Trees
Hananiah Harari, (Rochester, NY, 1912 - 2000, Hawthorne, NY)
Harari, Hananiah
United States
1912 - 2000
Male
11 1/8 x 8 in. (28.3 x 20.3 cm)
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plate
vertical
image
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sheet
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overall
frame
Printer's ink
Printer's ink
1938
1938
1938
houses, trees in art
Print
Born Richard Falk Goldman here in Rochester, Hananiah Harari studied at MAG’s Creative Worskhop, which he described as “a haven, and my first venture into the world of art.” He assumed his new name in 1935, about the time he became active in leftist politics. The cartoons he contributed to the publication The Masses caused him to be blacklisted in the 1950s during the McCarthy era.
[Label text from It Came From the Vault exhibition, 2013]
lower right, below imagelower left, below imagelower center, below image
2003.37
item
Memorial Art Gallery
9/16/2003
2003.37DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/2003.37_A1.jpg
2003.37DI#2
digital image
10/1/2012
http://127.0.0.1:5000/Media/images/2003.37_A2.jpg
Print
Apocalypse
Keith Haring, 1958 - 1990
Haring, Keith
United States
1958 - 1990
Male
Images
Burroughs, William
United States
1914 - 1997
Male
Text
38 x 38 in. (96.5 x 96.5 cm)
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.
sheet/image
Printer's ink
Printer's ink
1988
1988
1988
1900-2000, 20th century, serigraphs
Print
Artist and activist Keith Haring gained fame during the early 1980s with his then-anonymous graffiti drawings in the New York subway system. Shortly after he was diagnosed with AIDS, he collaborated with the Beat writer William Burroughs to create the Apocalypse portfolio from which this print comes. Likening the epidemic to the end of the world, Haring’s disturbing imagery combines with Burroughs’ stream-of-consciousness poetry to produce a sense of the catastrophe wrought by the tiny virus. The artist died two years later, at the age of 31.
[Label text from It Came From the Vault exhibition, 2013]
From a portfolio of ten serigraphs.
lower rightalong right side
1996.5.22
item
Memorial Art Gallery
10/24/2002
96.5.18DI1
digital image
10/23/2002
http://127.0.0.1:5000/Media/images/96.5.18_A1.jpg
96.5.18DI#2
digital image
11/28/2012
http://127.0.0.1:5000/Media/images/96.5.18_A2.jpg
96.5.18DI#3
digital image
4/4/2016
http://127.0.0.1:5000/Media/images/96.5.18_A3.jpg
Print
Stone Pines in Moonlight
Alfred Hartley, 1855 - 1933
Hartley, Alfred
England
1855 - 1933
Male
9 1/8 x 10 15/16 in. (23.2 x 27.8 cm)
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.
.
sheet
Printer's ink
Printer's ink
ca. 1925
1920
1930
1900-2000, 20th century, aquatints, landscape, trees in art
Print
Published in Fine Prints of the Year, vol. 3, 1926, London and New York.
lower left, below imagelower right, below imagelower left, in marginlower left, in marginverso, same hand as inscription on verso of 26.4
1926.3
item
Memorial Art Gallery
8/18/2000
26.3DI#1
digital image
2/7/2008
http://127.0.0.1:5000/Media/images/26.3_A1.jpg
Print
Leisure
Arthur William Heintzelman, 1891 - 1965
Heintzelman, Arthur William
United States
1891 - 1965
Male
11 1/8 x 8 5/8 in. (28.3 x 21.9 cm)
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overall
sheet
.
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.
overall
plate
Printer's ink
Printer's ink
From the 30 on Van Gelder
1918
1918
1918
1900-2000, 20th century, etchings, women
Print
lower left, below imageextreme lower left extreme lower right
1959.133
item
Memorial Art Gallery
4/11/2001
59.133DI1
digital image
2/20/2002
http://127.0.0.1:5000/Media/images/59.133_A1.jpg
59.133DI#2
digital image
11/20/2012
http://127.0.0.1:5000/Media/images/59.133_A2.jpg
Print
Night in the Park
Edward Hopper, 1882 - 1967
Hopper, Edward
United States
1882 - 1967
Male
12 3/8 x 16 1/4 in. (31.5 x 41.3 cm)
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.
.
sheet
sheet
.
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.
image
image
Printer's ink
Printer's ink
1921
1921
1921
1900-2000, 20th century, American Scene/Regionalism, cityscapes, etchings, night
Print
In 1921, when this print was created, Edward Hopper was a relatively unknown artist who had sold a few paintings but had not begun to receive the acclaim that would be his within a few years. By 1931, when it was exhibited at MAG and acquired with funds donated by a relative of the Watson family, Hopper had become HOPPER; the Museum of Modern Art had purchased one of his paintings the year before. While MAG does not own any of his canvases, we are fortunate to own this print and one other from Hopper’s decade of printmaking, 1915–1924.
The cinematic quality of Hopper’s paintings is evident even in his etchings. A shadowy figure placed at the far end of a line of benches could easily be a character from a Hollywood “film noir.”
[Label text from It Came From the Vault exhibition, 2013]
lower right
1931.26
item
Memorial Art Gallery
9/8/1999
31.26SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
2 x 2.5
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
31.26DI1
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/31.26_A1.jpg
31.26DI#2
digital image
9/6/2012
http://127.0.0.1:5000/Media/images/31.26_A2.jpg
Print
Winter Gorge -- Ithaca
Dorothy Hoyt, (East Orange, NJ, 1909 - 1997)
Hoyt, Dorothy
United States
1909 - 1997
Female
24 1/2 x 18 1/2 in. (62.2 x 47 cm)
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overall
sheet
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.
.
overall
image
Printer's ink
Printer's ink
1957
1957
1957
Print
lower rightlower left
1993.33
item
Memorial Art Gallery
9/8/1999
93.33SL1
slide
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
93.33DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/93.33_A1.jpg
93.33DI#2
digital image
1/8/2010
http://127.0.0.1:5000/Media/images/93.33_A2.jpg
Print
Untitled
Jasper Johns, (Augusta GA, 1930 - )
Johns, Jasper
United States
1930
Male
29 1/2 x 17 3/4 in. (74.9 x 45.1 cm)
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sheet
sheet
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overall
frame
.
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plate
plate
Printer's ink
Printer's ink
14-color etching with spit-bite aquatint, sugar lift, soft ground, and drypoint. Printed from four copper plates.
1999
1999
1999
1900-2000, 20th century, aquatints, drypoint, etchings
Print
Dorothee Schwartz, in whose memory this print was given, was one of MAG’s most dedicated patrons. A 1930 graduate of the University of Rochester, she no doubt began her relationship with MAG as an undergraduate on the Prince Street campus. Her connoisseur’s spirit was evident in the home she designed with architect James Johnson and which she furnished with work by School for American Crafts artists.
When she died in 2000, her family and friends wished to commemorate her long relationship with MAG with an acquisition that Dorothee would have found visually engaging and challenging. This complex print by Jasper Johns is part of his Catenary series, a group of works that are unified by the catenary, a curved form created when a string or chain is suspended at both ends.
[Label text from It Came From the Vault exhibition, 2013]
lower right, below imagelower leftlower left, publisher's mark
1999.55
item
Memorial Art Gallery
2/14/2000
99.55TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
99.55SL1
slide
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
99.55DI1
digital image
Memorial Art Gallery
Imaging complete
6/19/2001
http://127.0.0.1:5000/Media/images/99.55_A1.jpg
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)
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.
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
http://127.0.0.1:5000/Graphics/blank.gif
neg
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
37.11DI#1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/37.11_A1.jpg
37.11DI#2
digital image
10/1/2012
http://127.0.0.1:5000/Media/images/37.11_A2.jpg
Print
House in the Mountains
Tadeusz Kulisiewicz, (Kalisz, Poland, 1899 - 1988, Warsaw, Poland)
Kulisiewicz, Tadeusz
Poland
1899 - 1988
Male
11 9/16 x 11 13/16 in. (29.3 x 30 cm)
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sheet
sheet
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.
.
image
image
Printer's ink
Printer's ink
by 1933
1933
1933
Print
Three Sundays in October 1934 were dedicated to Polish music and dance in celebration of the exhibition Peasant, Decorative and Graphic Arts of Poland at MAG. Organized by the International School of Art in New York City, which was founded to preserve and promote the fast-disappearing folk arts of European countries, the exhibition was said to be the first exhibition of Polish art in America.
Tadeusz Kulisiewicz was affiliated with the Warsaw Academy of Art. After spending time in the small village of Szlembark, he created a series of prints based on the mountain culture there. Mrs. James Sibley Watson, MAG’s founder and a print collector in her own right, followed her usual practice of acquiring work from exhibitions to add to the permanent collection.
[Label text from It Came From the Vault exhibition, 2013]
lower right, below image
1934.8
item
Memorial Art Gallery
5/22/2001
34.8DI#1
digital image
7/30/2008
http://127.0.0.1:5000/Media/images/34.8_A1.jpg
Print
Children of the Park
Alice D. Laughlin, 1895 - 1952
Laughlin, Alice D.
United States
1895 - 1952
Female
9 x 8 7/8 in. (22.8 x 22.6 cm)
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overall
sheet
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overall
frame
.
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.
overall
image
Printer's ink
Printer's ink
0
0
1900-2000, 20th century, children, wood engravings
Print
lower rightlower right
1927.38
item
Memorial Art Gallery
9/8/1999
27.38SL1
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
2 x 2.5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
27.38DI1
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/27.38_A1.jpg
27.38DI#2
digital image
10/1/2012
http://127.0.0.1:5000/Media/images/27.38_A2.jpg
Print
Temple
Roy Lichtenstein, (New York, NY, 1923 - 1997, New York, NY)
Lichtenstein, Roy
United States
1923 - 1997
Male
23 3/4 x 17 3/4 in. (60.3 x 45.1 cm)
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.
.
overall
vertical
image
.
.
.
sheet
Printer's ink
Printer's ink
1964
1964
1964
1900-2000, 20th century, Charles Rand Penney Collection, lithographs, ruins
Print
lower right
Shelley Lee
1975.243
item
Memorial Art Gallery
9/8/1999
75.243DI1
digital image
12/7/2001
http://127.0.0.1:5000/Media/images/75.243_A1.jpg
75.243DI#2
digital image
10/10/2012
http://127.0.0.1:5000/Media/images/75.243_A2.jpg
Print
Boston Harbor
John C. Menihan, (Rochester, NY, 1908 - 1992, Rochester, NY)
Menihan, John C.
United States
1908 - 1992
Male
12 5/8 x 18 7/8 in. (32 x 47.9 cm)
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.
overall
sheet
.
.
.
overall
image
Printer's ink
Printer's ink
ca. 1937
1932
1942
1900-2000, 20th century, boats, by Rochester artists, lithographs
Print
lower right
John C. Menihan, Jr.
1986.106
item
Memorial Art Gallery
9/8/1999
86.106SL1
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
86.106DI1
digital image
1/16/2002
http://127.0.0.1:5000/Media/images/86.106_A1.jpg
86.106DI#2
digital image
10/1/2012
http://127.0.0.1:5000/Media/images/86.106_A2.jpg
Print
Bridge in the Pass at Glencoe-- Scotland
Thomas Moran, 1837 - 1926
Moran, Thomas
United States
1837 - 1926
Male
13 3/8 x 17 5/16 in. (33.9 x 44 cm)
.
.
.
overall
sheet
.
.
.
overall
image
Printer's ink
Printer's ink
1888
1888
1888
landscape
Print
This landscape is one of several works that were the result of a trip Thomas and Mary Moran made to Scotland in 1882. It shows the Bridge of Three Waters, near the site where members of the MacDonald clan were massacred by solders from a Campbell regiment in 1692.
[Label text from It Came From the Vault exhibition, 2013]
lower left, T. Moranlower right, in imagelower left, in image, Written backwards in the platelower center, in the plate
1988.35
item
Memorial Art Gallery
9/8/1999
88.35SL1
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
1x1
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
88.35DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/88.35_A1.jpg
88.35DI#2
digital image
2/8/2012
http://127.0.0.1:5000/Media/images/88.35_A2.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
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
Print
Nude on Silver Bench
Philip Pearlstein, 1924 -
Pearlstein, Philip
United States
1924
Male
29 1/2 x 37 1/2 in. (74.9 x 95.3 cm)
.
.
.
overall
sheet
.
.
.
overall
image
Printer's ink
Printer's ink
1973
1973
1973
Print
Philip Pearlstein began his career as a landscape painter but by the 1960s had become recognized as one of the foremost painters of the contemporary nude. Art critic and historian Sidney Tillim wrote that Pearlstein “paints the nude not as a symbol of beauty and pure form but as a human fact—implicitly imperfect.”
[Label text from It Came From the Vault exhibition, 2013]
lower leftlower right
Philip Pearlstein
1973.133
item
Memorial Art Gallery
9/8/1999
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
73.133I1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/73.133_A1.jpg
73.133DI#2
digital image
11/28/2012
http://127.0.0.1:5000/Media/images/73.133_A2.jpg
Print
The Frugal Repast (Le Repas Frugal)
Pablo Picasso, 1881 - 1973
Picasso, Pablo
Spain
1881 - 1973
Male
23 1/2 x 20 in. (59.7 x 50.8 cm)
.
.
.
sheet
sheet
.
.
.
plate
plate
.
.
.
overall
frame
Printer's ink
Printer's ink
1904
1904
1904
Print
With its iconic image of a man and woman sitting at a table in a wine shop, a sharp realism evoking the couple’s poverty and despair, "The Frugal Repast" is Picasso’s most famous print. It is especially remarkable because, at the time he created it, the artist had no formal training in printmaking. Beyond its emotional appeal, the fineness of technique is a testament to Picasso’s genius and ability to master a new medium so quickly.
Picasso produced only a few copies of this etching and drypoint when he created it in 1904. Almost ten years later, his dealer Ambrose Vollard, well known for his marketing and financial skills, bought the copper plate, strengthened it with steel facing, and, along with 14 smaller etchings, produced an unsigned edition of 250. This series, known as the The Saltimbanque Suite, assured Picasso’s reputation not only as painter, but master printmaker.
[Label text from It Came From the Vault exhibition, 2013]
1983.120
item
Memorial Art Gallery
4/24/2001
83.120SL1
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
83.120DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/83.120_A1.jpg
83.120DI#2
digital image
12/28/2010
http://127.0.0.1:5000/Media/images/83.120_A2.jpg
Print
Nude
Jorge Rigol, 1910 - 1991
Rigol, Jorge
Cuba
1910 - 1991
Male
14 3/8 x 11 in. (36.5 x 27.9 cm)
.
.
.
sheet
Printer's ink
Printer's ink
1953
1953
1953
20th century, nudes, woodcuts
Print
Dr. Isabel Rigol
1956.56
item
Memorial Art Gallery
2/3/2001
56.56DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/56.56_A1.jpg
56.56DI#2
digital image
11/28/2012
http://127.0.0.1:5000/Media/images/56.56_A2.jpg
Print
The Goldweigher's Field
Rembrandt Harmensz. van Rijn, (Leiden, 1606 - 1669, Amsterdam)
Rijn, Rembrandt Harmensz. van
Netherlands
1606 - 1669
Male
4 13/16 x 12 5/8 in. (12.2 x 32.1 cm)
.
.
.
sheet
sheet
.
.
.
overall
frame
Printer's ink
Printer's ink
1651
1651
1651
1600-1800, 17th century, drypoint, etchings, landscapes
Print
This landscape is of a real place: the city of Haarlem with the spire of the Grootekerk can be seen at the left and the church tower of Bloemendaal is in the right middle ground. Rembrandt has subtly manipulated the scene into a carefully composed and extended horizontal panorama. He uses diagonal lines to indicate divisions in the fields. Horizontal lines showing property divisions and the woods also serve to slow the viewer’s gaze. The addition of drypoint, or lines scratched in the plate without the use of acid, heightens the contrast between light and shadow.
The title for this print comes from the author of a 1751 catalogue of Rembrandt’s prints. He mistook this landscape for the property of the goldweigher, the Receiver General Jan Uytenbogaert, who was the subject of one of Rembrandt’s portraits. The Goldweigher’s Field actually shows the estate of the merchant Christoffel Thijs, who sold Rembrandt his house in 1639 and to whom Rembrandt was in debt.
[Label text from It Came From the Vault exhibition, 2013]
lower left, in the image, in the plate, A crown over an indistinct snaking motif
1987.63
item
Memorial Art Gallery
6/6/2001
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
87.63DI1
digital image
8x10
00/00/00
http://127.0.0.1:5000/Media/images/87.63_A1.jpg
87.63DI#2
digital image
2/13/2013
http://127.0.0.1:5000/Media/images/87.63_A2.jpg
Print
A Pale Angel's Halo
James Rosenquist, 1933 - 2017
Rosenquist, James
United States
1933 - 2017
Male
30 1/4 x 22 1/2 in. (76.8 x 57.2 cm)
.
.
.
overall
sheet
.
.
.
overall
image
Printer's ink
Printer's ink
1973
1973
1973
1900-2000, 20th century, lithographs, serigraphs
Print
Poet and art critic Nicolas Calas wrote of this image when it was published as part of a portfolio titled Reality and Paradoxes in 1973: “An inward image, transmitted verbally, has the power to transform a common image into an exceptional one. Blue, yellow and red express a divine utterance in primary colors: ‘pale angel.’ Suddenly the yellow is apprehended as gold, the ground as heavenly blue, the handle as the outline of a halo, and also of the back of an angel’s head and ears. The cut away space of the pail’s body recalls the ethereal quality of angels.”
[Label text from It Came From the Vault exhibition, 2013]
1973.113
item
Memorial Art Gallery
9/8/1999
73.113SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
73.113DI1
digital image
12/5/2001
http://127.0.0.1:5000/Media/images/73.113_A1.jpg
73.113DI#2
digital image
11/28/2012
http://127.0.0.1:5000/Media/images/73.113_A2.jpg
Print
Palisades
Rudolph Ruzicka, 1883 - 1978
Ruzicka, Rudolph
United States
1883 - 1978
Male
11 1/4 x 8 3/16 in. (28.6 x 20.8 cm)
.
.
.
plate
image
.
.
.
sheet
.
.
.
overall
frame
Printer's ink
Printer's ink
1917
1917
1917
1900-2000, 20th century, landscapes, New York State, rivers, trees in art, wood engravings
Print
In October of 1917, George Herdle brought to MAG an exhibition of prints made by members of the newly-formed Painter-Gravers of America. Among the over 90 prints was Rudolph Ruzicka’s Palisades, which was purchased for the collection for $10.80. With a minimum of colors and lines, the artist created an arresting image of a Hudson River scene, familiar and yet in his hands almost exotic. Interest in his work remained keen in Rochester, and he was given a solo exhibition at MAG the following year.
[Label text from It Came From the Vault exhibition, 2013]
in the platelower right, in margin
1917.11
item
Memorial Art Gallery
9/8/1999
17.11SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
2 x 2.5
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
17.11DI1
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/17.11_A1.jpg
17.11DI#2
digital image
10/1/2012
http://127.0.0.1:5000/Media/images/17.11_A2.jpg
Print
Turkish Harbor
Edythe Shedden, (Dumont, NJ, 1921 - 2017, Pittsford, NY)
Shedden, Edythe
United States
1921 - 2017
Female
24 x 36 in. (61 x 91.4 cm)
.
.
.
overall
image
.
.
.
overall
sheet
Printer's ink
Printer's ink
ca. 1978
1973
1983
Arena Group
Print
Edythe Shedden, at the age of 91, remains one of Rochester’s most respected artists. A lifelong traveler, she journeyed to Turkey four times. This print was inspired by the harbor at Marmaris, a popular port that hugs the coastline of the Turkish Riviera. Shedden never made this image available for sale, so MAG’s example, a bequest from her friend Isabel Herdle, is a rare treasure indeed.
[Label text from It Came From the Vault exhibition, 2013]
lower right, below imagelower left, below image
2005.135
item
Memorial Art Gallery
6/3/2005
5981.146DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/2005.135_I1.jpg
2005.135DI#2
digital image
Front
5/15/2007
http://127.0.0.1:5000/Media/images/2005.135_A1.jpg
Print
Third Ward Patterns
Edna Weeks Smith, (Portland, ME, 1903 – 1986, San Mateo, CA)
Smith, Edna Weeks
United States
1903 - 1986
Female
17 1/8 x 12 3/16 in. (43.5 x 31 cm)
.
.
.
screen
image
.
.
.
overall sheet
sheet
Printer's ink
Printer's ink
0
0
Print
Edna Weeks Smith taught for many years at MAG’s Creative Workshop. It was largely through her efforts that the Gallery’s annual Clothesline Festival came into being back in 1957.
[Label text from It Came From the Vault exhibition, 2013]
2005.39
item
Memorial Art Gallery
4/13/2005
5981.6DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/2005.39_I1.jpg
2005.39DI2
digital image
9/23/2010
http://127.0.0.1:5000/Media/images/2005.39_A1.jpg
Print
The Women's Bath
Attributed to Hans Springinklee, 1490/1495 - ca. 1540
Springinklee, Hans
Germany
1490-1495 - ca. 1540
Male
Attributed to
Dürer, Albrecht
Germany
1471 - 1528
Male
original artist
After
drawing
8 3/4 x 9 3/16 in. (22.2 x 23.3 cm)
.
.
.
sheet
horizontal
sheet
.
.
.
Printer's ink
Printer's ink
0
0
1400-1600, health & hygiene, Lockhart Collection, nudes, Renaissance & Baroque, women, woodcuts
Print
Reverse copy after a drawing by Albrecht Dürer.
Public baths for both men and women enjoyed great popularity in Renaissance Germany; women’s baths in particular were frequent subjects of artists like Albrecht Dürer and his followers. Images of female nudity often carried erotic overtones, as seen here in the woman at center, who gazes directly at the viewer while turning her body in a frontal pose. These depictions of the female nude sometimes carried moral and menacing messages, as they were also used to portray women as prostitutes and witches.
[Label text from It Came From the Vault exhibition, 2013]
verso, L in a boxverso
1975.45
item
Memorial Art Gallery
5/15/2001
75.45 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
75.45DI1
digital image
4/8/2002
http://127.0.0.1:5000/Media/images/75.45_A1.jpg
75.45DI#2
digital image
10/10/2012
http://127.0.0.1:5000/Media/images/75.45_A2.jpg
Print
Quetzalcoatl
Rufino Tamayo, (Oaxaca, Mexico, 1899 - 1991, Mexico City)
Tamayo, Rufino
Mexico
1899 - 1991
Male
27 x 51 1/2 in. (68.6 x 130.8 cm)
.
.
.
.
.
.
overall
frame
Printer's ink
Printer's ink
1979
1979
1979
Print
Rufino Tamayo is considered by many to be the father figure of contemporary Mexican art. Although he lived in New York City and Paris for many years, Tamayo’s work was always informed by his deep affinity for his own Zapotec Indian culture. The subject of this print is Quetzalcoatl, the plumed serpent who in Zapotec mythology was the god of the winds. Tamayo, a master printmaker, found mixographs particularly suited to his personal style. Using a wax slab rather than a conventional metal plate or stone, the mixograph technique allows the artist to create a painterly, textured surface.
[Label text from It Came From the Vault exhibition, 2013]
1986.8
item
Memorial Art Gallery
5/22/2001
86.8TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
86.8SL1
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
glossy
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
86.8DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/86.8_A1.jpg
Print
A Scene of Cherry Blossoms in the New Yoshiwara
Utagawa Toyokuni I, 1769 - 1825
Utagawa Toyokuni I
Japan
1769 - 1825
Male
Designer
15 9/16 x 51 3/8 in. (39.6 x 130.5 cm)
.
.
.
Image/sheet
.
.
.
overall
frame
Printer's ink
Printer's ink
1811
1811
1811
Japanese, Ukiyo-e
Print
The Edo period of Japanese history (1615–1868) ushered in an era of relative peace and stability after centuries of war. Urban merchants used their new-found wealth and leisure time to patronize the courtesans, teahouses, and theaters of the city’s pleasure quarters.
The New Yoshiwara entertainment quarter was one of two famous “evil places” in Edo (present-day Tokyo). The five prints that make up A Scene of Cherry Blossoms in the New Yoshiwara show a view along Nakanoch? (Main Street) beginning from the ?-mon (Great Gate) on the far right, during the popular spectacle of the cherry blossom season. The Great Gate, the quarter’s only entrance and exit, was closely guarded; the main street, with its central aisle of cherry trees and lanterns, was thronged on both sides with chaya, or “tea-houses.” Courtesans, identified by their high special wooden clogs, elaborate dress, and retinues of women attendants, servants and small girls-in-training, are easily distinguishable from the geisha, or entertainer, with her two black instrument cases.
[Label text from It Came From the Vault exhibition, 2013]
Along with the theater district in nearby Saruwaka-chô, the New Yoshiwara entertainment quarter was one of Edo's two famous "evil places." This spectacular series of five connected prints shows a view along Nakanochô, or Main Street, beginning from the <em>Ô-mon</em>, or Great Gate, on the far right. Visitors to the exclusive environment of the New Yoshiwara required money, taste and introductions; the Great Gate, the quarter's only entrance and exit, was closely guarded. The main street, with its central aisle of cherry trees and lanterns, was thronged on both sides with <em>chaya</em>, or "tea-houses." There, customers would arrange to meet one of the courtesans who lived and worked in <em>ageya</em>, or houses of assignation, located on the three cross-streets of the quarter.
Accompanied by their entourages, well-heeled male customers turned out in great numbers for the popular spectacle of the cherry blossom season. Courtesans, identified by their high special wooden clogs, far more elaborate dress and retinues that included younger women attendants, servants and small girls-in-training, are easily distinguishable from the <em>geisha</em>, or entertainer, seen here with her two black instrument cases.
[Gallery label text, 2010]
, Signature: Toyokuniga, on each sheet.
1997.43
item
Memorial Art Gallery
6/22/2000
97.43DI1
digital image
8/14/2003
http://127.0.0.1:5000/Media/images/97.43_A1.jpg
97.43SL1
slide
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
97.43SL2
slide
Detail
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
97.43SL3
slide
Detail
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
97.43SL4
slide
Detail
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Print
Bust of a Man ("Bust of Doctor Faustus") (after Rembrandt)
Bust of Doctor Faustus
Jan Georg van Vliet, (Delft, ca. 1610 - after 1635)
Rijn, Rembrandt Harmensz. van
Netherlands
1606 - 1669
Male
Rijn, Rembrandt Harmensz. van
Netherlands
1606 - 1669
Male
After
Vliet, Jan Georg van
Netherlands
ca. 1610 - after 1635
Male
5 13/16 x 5 1/8 in. (14.8 x 13 cm)
.
.
.
sheet
sheet
1630-1633
1630
1633
1600-1800, 17th century, etchings, men, portraits
Print
Johannes van Vliet worked for Rembrandt in the late 1620s and 1630s. For the most part, he prepared Rembrandt’s painted compositions for production as prints; he also made direct copies of the master’s prints.
Van Vliet created etchings after his own designs as well, although many derive thematically from work by Rembrandt. Scenes of everyday life, peasants, card players, and beggars were his subject matter of choice.
[Label text from It Came From the Vault exhibition, 2013]
upper right, in the plate, Rembrandt's monogram, last used on paintings in 1632
1992.63
item
Memorial Art Gallery
3/20/2001
92.63SL1
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
2 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
92.63DI1
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Media/images/92.63_A1.jpg
92.63DI#2
digital image
3/13/2008
http://127.0.0.1:5000/Media/images/92.63_A2.jpg